THE  LIBRARY 

OF 

THE  UNIVERSFTY 

OF  CALIFORNIA 

LOS  ANGELES 
MUSIC  LIBRARY 

GIFT 
OF 

Bernard  A.  Diamant 


Digitized  by  tine  Internet  Arcliive 

in  2007  witli  funding  from 

IVIicrosoft  Corporation 


littp://www.arcliive.org/details/conciseliistoryofOOhuntiala 


emva. 


/nd  S^.  ^iama/n4 


HISTORY  OF  MUSIC 


A  co:NrciSE 


HISTOEY  OF  MUSIC 


I-BOM   THB   COMMENCEMENT   OF   THE   0HEI8TIAN    ERA. 
TO   THE   PRESENT    TIME. 


Jfxrr  the  ®0c  x>f  ^tuimte. 


H.  G.  BONA  VIA  HUNT,  B.Mus., 

CHRIST   CHURCH,    OXFORD, 

WIRDZN   OF   TKIMITT    COLLXOE,   LONDON  ; 
AHB   LSCTUKSB  ON   MUSICAL    HI8T0BT   IM    THC    SAME  COLLEGE. 


ftffo  €bit:on,  JltWseb. 


NEW  YORK: 
CHARLES     SCRIBNER'S     SONS, 

SUCCESSORS   TO 

SCRIBNER,   ARMSTRONG   &  CO. 


Music 
Library 

ini 


TO 

MT   DEAR  AND   HONOURED   FRIEND, 

Sir    JOHN    GOSS,  Mus.  D., 

WITHOUT    WHOSE    NAME 
KO     HISTORY    OF    MODERN    MUSIC    CAN     BE    COMPLE'lB, 

Sl^ts  little  '§oah 

IS, 

WITH    EVE3  Y    I'EELING    OF   RESPECT   AND   AFFECTION, 

INSCRIBED. 

Secmier,  1877. 


PREFACE  TO  THE  SECOND  EDITION. 


That  a  new  edition  of  this  little  work  should  be  called 
for  within  three  months  of  its  first  appearance  affords 
gratifying  evidence  that  it  has  met — ^to  some  extent,  at 
least — an  acknowledged  want  among  students  of  music. 

In  response  to  the  general  invitation  with  which  I 
concluded  my  "  Introductory  "  Chapter,  several  corre- 
spondents have  favoured  me  with  corrections' and  sug- 
gestions of  which  I  have  thankfully  availed  myself. 
Accordingly,  a  few  minor  names  and  matters  have  been 
added  or  substituted  for  others.  The  general  plan  and 
the  bulk  of  the  work,  however,  remain  the  same  as 
before. 

I  cannot  let  this  occasion  pass  without  expressing 
my  sincere  obligations  to  those  gentlemen,  the  majority 
of  them  musicians  of  acknowledged  learning  and  emi- 
nence in  the  art,  who  have  assisted  me  in  the  careful 
preparation  of  this  Second  Edition  for  the  press. 

H.  G.  B.  H. 

March,  1878, 


CONTENTS. 


DEDICATIOJT  

INTRODUCTORY 

GENERAL   SUMMARY 

CHRONOMETRICAL   TABLES 

ART   SUMMARY 

EXAMINATION    QUESTIONS 

LIST   OF   MUSICAL   EXAMPLES 

ALPHABETICAL   LIST  OF   MUSICAL   WORKS 

GBNEBAL   INDEX     


PAaa 
V 

xi 

1 

61 

82 

157 

168 

169 

176 


INTEODUCTOEY. 


Thb  plan  of  this  little  History  is  so  distinct — as  fai 
as  I  am  aware — from  that  of  any  other  work  upon  the 
same  subject,  tha.t  a  careful  perusal  of  these  prefatory 
explanations  vdU  greatly  help  the  reader  in  his  study  of 
the  book.  It  would  be  more  cqrrect  to  say  that  all 
previous  Histories  of  Music  are  distinguished  from  the 
present  effort  in  the  respect  that  they  have  no  plan  at 
all,  beyond  the  two  very  general  features  of  chronological 
order  (rarely  adhered  to)  and  a  grouping  of  composers 
and  events  into  a  number  of  "  schools."  The  volu- 
minous works  of  Burney  and  Hawkins  each  form  a 
mass  of  promiscuous  and  Hi-digested  matter,  which 
requires  much  sifting  and  collating  on  the  part  of  the 
student  before  he  can  arrive  at  the  information  he 
requires ;  while,  as  both  works  are  now  a  century  old, 
they  stop  short  of  the  most  productive  as  well  as  the 
most  interesting  period  of  musical  history.  The  smaller 
histories  of  Hogarth,  Schliiter,  Eitter,  and  others,  though 
admirably  adapted  for  the  purpose  for  which  they  were 
originally  compUed,  are  still  no  more  than  courses  of 
popular  lectures,   in   which   much  that   is  naturally 


xii  Introductory. 

required  for  a  student  at  a  musical  examination,  13 
necessarily  omitted. 

The  classification  adopted  in  the  following  pages  is 
the  result  of  many  trying  experiences  as  a  student, 
whose  chief  difficulty  has  been  the  separation  of  the 
subjective  from  the  objective  divisions  of  the  study. 
To  a  certain  extent  the  one  is  necessarily  wedded  to  the 
other,  and  I  have  recognized  this  where  necessary, — yet 
without  disturbing  the  general  plan,  which  I  will  now 
proceed  to  describe. 

The  book  is  divided  into  Three  Sections. 

The  First  Section  contains  a  general  review  of  musical 
epochs  and  events,  including  short  biographical  sketches 
of  the  principal  characters  concerned,  with  an  enumera- 
tion of  their  most  important  works.  '  The  principle  of 
chronological  order  has  been  observed,  yet  not  slavishly, 
as  sometimes  it  would  have  seriously  interfered  with 
the  general  plan,  without  yielding  an  equivalent 
advantage.  A  palpable  difficulty  has  been  the  classi- 
fication of  the  "  schools."  The  term  "  school "  is  so 
ambiguous,  and  has  been  employed  in  so  many  senses, 
that  the  student  is  frequently  at  a  loss  when  asked  to 
defiae  any  one  of  them.  There  are  the  "  Belgian  "  or 
"Flemish,"  the  "Eoman,"  the  "Venetian,"  the 
"Neapolitan,"  the  "Spanish,"  the  "German,"  the 
"  French,"  the  "  English  "  schools ;  and  these  terms 
have  respectively  been  variously  and  indiscriminately 
used  to  denote  either  a  group  of  composers  of  the  same 
nationality,  or  a  distinguishing  style  of  musical  com- 
position. Again,  as  to  the  latter  interpretation  of  the 
term,  the  student,  in  the  course  of  his  reading,  is  liable 


Introductory.  xiii 

to  a  new  bewilderment  with  every  sueceeding  work 
he  is  led  to  paruse.  Some  writers  adopt  the  above 
classification ;  others  speak  broadly  of  two  great  con- 
trasting schools  —the  Italian  and  the  German ;  others, 
again,  add  to  these  two  the  French  and  the  English 
schools ;  while  a  fourth  section  will  deny  or  ignore  the 
existence  of  the  English  school  in  toto.  In  order  to 
disencumber  the  mind  of  such  perplexities  as  these,  I 
have  generally  adopted  the  method  of  classification  by 
nationality ;  and  have  included  the  Eoman,  Venetian, 
and  Neapolitan  groups  under  the  common  head  of 
"  Italian."  On  an  examination  of  the  text  of  the  first 
section,  the  reader  will  notice  that  beyond  paragraph 
18,  every  paragraph,  with  a  few  exceptions,  is  headed 
with  an  initial  letter  enclosed  in  brackets.  Each  initial 
letter  denotes  the  division  to  which  the  matter  that 
follows  it  belongs;  viz.,  B.,  Belgian  ;  I.,  Italian;  Q-., 
German  ;  E.,  English ;  F.,  French.  These  paragraphs 
are  so  worded  that  the  reader,  according  to  his  require- 
ments, may  trace  the  course  of  any  particular  "  school " 
without  interruption.  Thus,  if  at  any  time  he  wish 
to  confine  his  attention  to  the  succession  of  English 
composers,  he  will  look  for  the  first  paragraph  headed 
by  the  initial  E.,  after  which  his  eye  will  easily  and 
rapidly  guide  him  to  the  second  and  further  paragraphs 
bearing  the  same  initial  letter.  And  as  far  as  the 
succeeding  paragraphs  of  each  denomination  are  con- 
cerned, the  chronological  order  will  be  found  intact. 

The  Second  Section  comprises  a  series  of  Chrono- 
metrical  Tables  or  Charts,  the  first  Chart  containing 
1000  years,  the  succeeding  Charts   100  years.     Each 


xiv  Introductory. 

Chart  is  duplicated,  and  the  duplicates  are  placed  on 
opposite  pages.  The  right  hand  duplicate  contains  the 
names  of  musicians  and  historians,  while  that  on  the 
left  hand  is  devoted  to  the  corresponding  epochs  and 
events.  As  in  a  geographical  map  the  relative  positions 
of  towns  or  counties  may  be  seen  at  a  glance,  so  in  this 
Chronological  map  the  student  may  see  pictured  before 
him,  upon  a  very  simple  plan,  the  time-relationship  of 
persons  and  events, — persons  with  persons,  events  with 
events,  and  events  with  persons.  For  this  admirable 
scheme  I  am  indebted  to  my  able  and  learned  friend, 
Mr.  David  Nasmith,  LL.B.,  whose  Chronometrical 
Chart  of  English  History  has  formed  the  model  for  these 
tables.  The  study  of  History,  with  its  legion  of 
miscellaneous  facts  and  disjunct  dates,  has  by  this 
invention  been  rendered  far  less  irksome  and  more 
definite,  and  it  is  a  matter  for  regret  that  Mr.  Nasmith's 
valuable  Chart  is  not  to  be  found  on  the  walls  of  every 
school-room  in  England,  notwithstanding  the  earnest 
recommendations  of  Brougham,  Thiers,  Carlyle,  and 
other  eminent  historians. 

The  Third  Section  summarizes  the  history  of  the 
art  itself,  unencumbered  by  the  necessity  of  tracing  the 
career  of  any  composer  referred  to  in  the  course  of  the 
text.  It  deals  (1)  with  the  birth  and  development  of 
the  modern  scales,  counterpoint  and  harmony ;  (2)  with 
the  history  of  choral  music,  ecclesiastical  and  secular; 
(3)  with  instrumental  music,  and  the  development  of 
the  now  classical  forms  of  composition ;  (4)  with 
musical  instruments,  ancient  and  modem ;  and  enumer- 
ates (5)  some  of  the  principal  works  of  each  important 


Introductory. 


xv 


class,  together  with  the  names  of  composers,  arranged 
in  approximate  chronological  order. 

The  student  is  warned  that  he  is  not  to  expect  in  this 

what  is  called  a  "  readable  "  book ;  it  has  been  written 

with  a  view  to  systematic  study,  and  not   for  mere 

entertainment, —  in  short,   it   is   a   text-book,   not    a 

discourse.    To  this  end  I  have  endeavoured  throughout 

to  restrict  myself  to  matters  of  fact,  every  digression 

being  an  attempt  to  throw  light  upon  facts  disputed  or 

uncertain.     These   pages,  then,  are  not  intended  for 

consecutive   perusal,   but    for   sectional   study ;    each 

division,  while  maintaining  a  relation  with  the  whole, 

being  complete  as  to  its  own  subject.    I  would  therefore 

recommend,  first,  a  cursory  perusal  of  the  work  from 

beginning  to  end,  in  order  to  master  the  plan  and  gain 

a  general  idea  of  the  contents ;  secondly,  to  select  any 

school  or  period  treated  of  in  the  General  Summary ; 

thu'dly,   to    refer,    as    occasion   may  require,   to   the 

corresponding  text  of  the  Art  Summary;  and  lastly, 

to  consult  the  Chronometrical  Tables  for  the  period  in 

question — or,  better  still,  to  copy  out  such  Tables  upon 

a  separate  sheet,  and  upon  a  larger  scale,  that  they  may 

lie  immediately  ia  front  of  the  student  while  he  is 

reading.     Each  of  the  sections  may  be  studied  as  a 

principal  text,  and  compared  with  the  other  sections  in 

the  same  way.     For  example,  if  the  student  take  for 

his  subject  the  growth  and  development  of  the  Sonata 

form,  he  will  read  Section  III.,  paragraphs  26 — 28  ;  if 

he  wish  for  particulars  respecting  the  principal  composers 

mentioned  in  par.  28,  he  will  refer  to  Section  I. ;  who 

were  contemporary  writers  of  Sonatas  he  wiU  ascertain 


xvi  Introductory. 

at  a  glance  from  tlie  Tables  in  Section  II. ;  and  so  on, 
mutatis  mutandis,  according  to  the  nature  of  the  subject 
in  hand.  The  student  is  thus  enabled  to  take  a  more 
or  less  comprehensive  view  of  any  subject  in  proportion 
to  his  individual  requirements.  The  miscellaneous 
questions  at  the  end  of  the  book  have  been  added  as 
an  assistance  to  students  preparing  for  examinations. 

Having,  by  a  systematic  study  of  these  pages, 
possessed  himself  of  the  principal  facts  of  Musical 
History,  the  student  will  be  the  better  able  to  under- 
stand and  appreciate  the  more  critical  writings  of  other 
historians,  and  to  every  advanced  student  such  reading 
is  recommended  as  an  after  course. 

Lastly,  in  a  work  containing  an  enormous  number  of 
facts  and  dates,  some  of  them  controverted  or  otherwise 
uncertain,  it  is  to  be  feared  that  occasional  discrepancies, 
real  or  apparent,  may  be  found.  I  shall  be  grateful  to 
any  reader  who  wiU  communicate  to  me  any  such  errors 
or  discrepancies,  with  a  view  to  correction  upon  the  first 
opportunity.  As  to  omissions,  the  necessary  limits  of 
the  work  have  precluded  the  insertion  of  many  names 
and  particulars  of  secondary  importance,  but  I  hope 
and  believe  that  the  information  supplied  is  amply 
sufficient  for  the  needs  of  the  ordinary  student  of  music 

T)-inity  Collvgej 
London^  W. 


HISTORY  OF  MUSIC. 


SECTION   I. 

GENERAL     SUMMMARY. 

1.  While  in  tlie  works  of  many  of  the  ancient 
writers  the  subject  of  Music  has  been  dwelt  upon  at 
more  or  less  length,  it  is  impossible  for  us  to  form  upon 
their  statements  or,  passing  allusions  an  exact  idea  of 
the  character  or  extent  of  the  art  as  practised  in  the 
days  of  the  Egyptian,  Grecian,  and  Roman  empires.* 

2.  With  regard  to  the  musical  scales  of  the  Greeks, 
all  that  we  really  know  is  : — That  they  were  built  on  a 
system  of  tetradiords — or  groups  of  four  notes  ascend- 
ing in  diatonic  succession  ;  that,  familiarly  speaking, 
two  of  these  tetracliords  put  together  formed  a  "  scale  ;  " 
that  there  were  various  kinds  of  scales,  differing  in 
nature  from  each  other  in  respect  of  the  relative  posi- 
tions occupied  by  the  semitones ;  and  that,  therefore, 
the  ett'ect  of  the  music,  whether  melody  or  harmony, 
])roduced  from  such  scales,  was  entu'ely  different  from 
that  of  the  present  day. 

3.  It  is  generally  believed  that  the  Greeks  originally 
derived  the  rudiments  of  their  musical  knowledge  from 
the  Egyptians,  who  were  great  proficients  in  the  art,  as 


*  "  In  short,  there  can  be  no  history  of  music  as  an  art, 
where  no  musical  works  of  ai't  exist." — ScHiiUiEB. 
1 


2  History  of  Music.  [i.  4 — 6. 

may  be  seen  from  the  monumental  remains  of  that 
splendid  nation.  Upon  a  number  of  these  monuments 
are  representations  of  harps,  lutes  (or  guitai's),  and 
other  instruments  ;  bauds  of  musicians  performing  con- 
certed music  ;  but  in  the  nature  of  things  there  is  no 
source  from  which  we  may  gain  any  notion  as  to  the 
effect  or  character  of  the  music  produced. 

4.  There  has  been  much  discussion  on  the  question 
whether  harmony  was  known  to,  or  employed  by,  the 
ancients.  On  the  one  side  it  is  asserted  that  the  Greek 
writers  make  no  mention  of  harmony  *  (as  we  under- 
stand the  term)  in  any  of  their  works  upon  music,  and 
that  the  construction  of  the  old  scales — the  discordant 
nature  of  their  "  thirds,"  for  instance — effectually  pre- 
cluded the  use  of  polyphonic  music.  On  the  other  side, 
the  existence  of  the  stringed  instruments,  such  as  the 
lyre,  the  harp,  and  the  lute  ;  the  structure  of  the  double 
pipes  blown  by  a  single  mouthpiece  ;  have  been  adduced 
as  strong  evidence  in  favour  of  some  sort  of  harmony, 
however  crude  it  might  sound  to  modern  ears. 

5.  The  most  noted  among  Greek  theorists  were 
Pythagoras  {circ.  b.c.  600)  and  Lasos;  amongst 
practical  musicians  were  Terpander  of  Lesbos  (b.c. 
670),  who  invented  or  introduced  the  seven-stringed 
kithara;  Olympos  the  Phrygian,  who  brought  into 
Greece  the  art  of  flute-placing,  Avhich  thenceforward 
formed  an  important  element  in  Greek  instrumental 
art ;  and  Tjrrtaeus,  a  soldier,  musician,  and  poet, — who 
in  fact  was  a  "  troubadour,"  or  minstreJ. 

6.  Although  it  is  tolerably  conclusive  that  instru- 
mental music,  pure  and  simple,  was  a  favourite  recre- 
ation of  the  Egyptians,  the  Greeks  for  many  ages 
employed  their  instruments  only  as  an  accompaniment 
to  the  voice,  whether  for  monologue  or  chorus.     It  is 


*  The  term  apfiovla  (harniouia),  as  employed  by  Greek  writers, 
is  applied  only  to  their  octave  system,  or  conjimction  of  two 
successive  teti-achords  {v.  par.  lOj. 


I.  6 — 9.]  Getieral  Summary,  3 

characteristic  of  the  race  that  the  later  development  of 
flute-playing  as  a  separate  art  Avas  accompanied  by  the 
institution  of  competitive  trials  of  skill,  by  which  the 
real  vocation  of  the  musician  was  lost  amid  the  petty 
technicalities  of  mere  mechanical  display.  And  upon 
this  began  the  decline  of  Grecian  music,  which  indeed 
practically  died  out  with  the  fall  of  the  Grecian  empire. 

7.  The  Komans  had  no  distinctive  music  of  their 
own.  They  were  pre-eminently  a  martial  race,  and 
probably  the  music  they  most  appreciated  was  the 
trumpet-call.  In  their  earlier  days  they  were  too  busy, 
and  in  later  times  too  lazy,  to  cultivate  the  art  among 
themselves.  In  the  era  of  luxury  and  dUettanteism 
which  preceded  their  decay,  they  employed  Greek 
slaves  as  singers  and  players.  In  the  reign  of  Nero, 
who  affected  a  devotion  to  music,  the  pursuit  of  the 
art  became  fashionable  for  a  time,  but  the  Eomans 
were  not  in  earnest,  and  consequently  left  behind  them 
no  marks  of  musical  culture. 

8.  It  is  not  imtil  the  fourth  century  after  Christ 
that  the  actual  history  of  music  as  a  separate  art 
begins.  About  the  year  a.d.  330,  Pope  Sylvester,  we 
are  informed,  instituted  a  singing  school  in  Rome,  but 
there  is  no  statement  upon  which  we  may  form  an 
accurate  idea  of  the  kind  of  music  practised.  By  the 
light,  however,  of  subsequent  events  we  know  that  the 
singing  must  have  been  unisonal,  and  that  the  melodies 
were  built  upon  the  old  Greek  scales  or  modes,  or 
possibly  were  ancient  Hebrew  airs,  though  some  good 
authorities  consider  this  doubtful.  We  also  infer  that 
St.  Sylvester  was  acquainted  with  the  method  of  anti- 
phonal  chanting,  as  Pliny,  who  lived  in  the  second 
century,  incidentally  mentions  this  as  the  custom  amongst 
the  Christians  of  his  day. 

9.  A  few  years  later  (374— 397)  St.  Ambrose,  Arch- 
bishop of  Milan  (not  the  Ambrose  to  whom  is  attributed 
the  authorship  of  the  Te  Deum),  took  an  especial 
interest  in  the  culture  of  Church  music,  and  arranged 


4  History  of  Music.  fi.  9 — 11. 

the  four  diatonic  scales  known  as  "The  Authentic 
Modes."  He  decreed  that  upon  one  or  other  of  these 
scales  all  Church  melodies  should  be  constructed,  and 
during  his  time  many  new  hymns  or  chants  were  com- 
posed, some  of  them  by  himself.  St.  Ambrose  also 
greatly  improved  the  style  of  antiphonal  singing,  and 
organized  a  fine  choir  in  his  own  church  at  Milan. 

10.  St.  Ambrose  had  no  immediate  successor  to  con- 
tinue the  excellent  work  he  had  begun.  By  degrees 
the  music  of  the  Church  deteriorated ;  and  it  was  not 
until  two  centuries  had  elapsed  that  a  reform  was 
effected.  Gregory  the  Great  (590 — 604)  during  his 
pontificate  devoted  himself  to  the  work  of  reformation 
and  improvement,  and  restored  to  Church  song  that 
solemnity  of  character  which  it  had  gradually  lost.  He 
also  added  to  the  Ambrosian  scales  four  others,  which 
he  called  "  the  jrjlagal  modes."  Both  the  authentic 
and  plagal  modes  have  for  their  foundation  the  old 
Greek  system  of  "  tetrachords."  We  annex  a  complete 
table  of  the  eight  scales  : — 

Tone  Authentic.         Tojtb  Flaoal, 

1.  Dorian.       DEFGABCD         2.  Hypo-Dorian   )    aBCDEFGA 

(or  jEolian).      ( 
3.  Phrygian.  EPGABCDE        4.  Hypo-Phrygian.  BCDEFGAB 
6.   Lydian.      PGABCDEP         «•  Hypo-Lydian  .         ^  ^  ^  ^  ^  ^^  ^ 

(or  Ionian).      ) 

^•f^°-      JGABCDEPG        8-fyP0-°J^o»      dEPGABCD 
Lydian.  )  Lydian.  ) 

On  comparison  it  will  be  seen  that  the  plagal  modes 
commence  at  a  fourth  below  the  authentic.  The  above 
are  known* as  the  eight  "  Gregorian  modes." 

11.  St.  Gregory  established  a  music  school  at  which 
these  modes  and  the  order  of  the  Churcli  Service  were 
systematically  taught.  The  liturgy  was  noted  entirely, 
it  is  said,  by  himself,  and  the  whole  was  entitled  the 
"Antiphonar,"  the  chant  or  plain-song  (cantus-planus, 
or  cantus-firmvLs)  being  sung  alternately  or  antiphonaUy 


I.  11 — 14.]  General  Summary.  6 

between  priest  and  clioir.  A  very  crude  description  of 
notation  was  used,  consisting  of  dots  and  scratches  of 
various  shapes,  and  the  "  stave  "  was  then  unknown. 

12.  The  system  founded  by  Gregory  the  Great 
quickly  spread  throughout  the  Christian  countries. 
Trained  teachers  and  singers  Avere  sent  from  Eonie  to 
France  and  Germany  (601 — 752),  and  schools  of  Church 
music  were  established  in  most  of  the  principal  dioceses 
in  those  countries.  It  is,  however,  affirmed  that  the 
improvement  effected  was  but  transient,  owing  to  the 
barbarous  and  untutored  condition  of  the  people,  who 
in  those  times  were  little  more  than  savages. 

13.  The  Emperor  Charlemagne  (768 — 814)  proved 
himself  a  zealous  apostle  of  the  musical  system  of  St. 
Gregory.  He  founded  music  schools  at  ^letz  and  other 
towns,  and  placed  them  under  Italian  singers  of  note. 
In  this  work  the  emperor  employed  one  Alcuin,  a 
British  ecclesiastic,  as  his  principal  assistant,  and 
Charlemagne  himself  paid  periodical  visits  of  inspec- 
tion to  these  schools,  both  in  France  and  Germany. 
It  was  not  until  this  period  that  "  Gregorians "  be- 
came the  universal  use  throughout  western  Christ- 
endom. 

14.  There  is  documentary  evidence  that  at  this  period 
musicians  had  a  crude  conception  of  harmony.  Isidore 
of  Seville,  a  contemporary  of  Gregory,  alludes  in  his 
"  Treatise  on  jNIusic  "  to  Symphony  and  Diaphony, 
concerning  which  Professor  Kitter  observes — "  By  the 
first  Avord  he  meant  probably  a  combination  of  con- 
sonant, and  by  the  latter  of  dissonant,  intervals."  Some 
little  time  after  the  death  of  Charlemagne,  Hucbald 
(840 — 930),  a  Fleming,  accompanied  his  melodies  by 
a  discavtus,  or  added  jiart,  consisting  of  a  series  (when 
combined  with  the  melody)  of  consecutive  fourths  or 
fifths;  a  "  diaphony  "  which  woidd  be  simply  horrible 
in  our  eai-s.  Organnm  was  another  term  for  this  weird 
accompaniment.  The  organ  was  now  in  use  at  some 
churches,  and  in  Winchester  Cathedral  there  was  an 


6  History  of  Music.  [i.  15,  16. 

instrument  having  400  pipes,  a  magnificent  one  for 
tliose  days. 

15.  Guido  of  Arezzo  (990 — 1050)  effected  many- 
important  improvements  in  the  system  of  notation,  or 
rather  founded  the  system  upon  which  our  present  me- 
thod is  based.  The  somewhat  comprehensive  term, 
inventor  miusicoe,  was  applied  to  him  by  the  musicians 
of  his  time.  Hitherto  two  lines  only  had  been  em- 
ployed as  a  stave  ;  to  these  he  added  two  others.  Each 
of  these  additional  lines  had  its  distinctive  colour — the 
one  red,  the  other  green  or  yellow.     The  yelloAV  line 

indicated  the  place  of  the  note  C     -^ ;    the  red 

line  the  place  of  the  note  F   ^~'^;     and    from    these 

our  C  and  F  clefs  are  respectively  derived.  Guido 
may  also  be  regarded  as  the  father  of  solmization, 
for  he  invented  the  terms  ut,  re,  mi,  fa,  sol,  la,  which 
are  used  by  students  even  now.  {Si  was  not  used  till 
the  17th  century,  when  Lemaire  introduced  it  as  a 
name  for  the  seventh  of  the  scale,  or  leading  note.) 
The  terms  used  by  Guido  were  derived  from  the  follow- 
ing Latin  lines,  which  he  taught  his  students  to  suig 
to  a  melody  so  arranged  that  each  line  began  with  the 
note  it  was  employed  to  indicate  : — 


UT  queant  laxis, 
REsonare  fibris, 
MIra  gestorum. 


FAmuli  tuorum, 
SOLve  polluti 
LAbii  reatum, 
Sancte  Johannes. 


16.  Franco  of  Cologne  (c.  1200)*  formulated  a 
system  of  musical  measure  and  time  by  means  of  vary- 
ing the  shape  of  a  note  to  denote  its  comparative  length. 
They  were  named  and  figured  as  follows : — maxima,  Hi^ 


*  Forkel  assigns  to  Franco  a  much  earlier  date  than  this, 
maintaining  that  he  flourished  during  the  latter  half  of  the  11th 
century. 


I.  16 — 18.J  General  Summary.  7 

(or  du2)lex  longa) ;  Tonga,  i^ ;  hrevis,  Hi  ;  and  semi- 
hrevis,  ♦.  He  likewise  invented  "rests"  of  the  same 
relative  values,  and  the  signs  he  used  are  practically 
identical  with  those  of  the  present  day.  He  divided 
time  into  "  triple,"  or  perfect,  and  "  duple,"  or  imper- 
fect.     The   bar     — |— ,     which   gives   a   more   perfect 

rhythm  and  accent  to  music,  was  not  introduced  till 
a  much  later  date.  In  Franco's  time,  counterpoint  of 
even  five  parts  was  employed  in  the  accompaniment  of 
melodies,  but,  although  no  longer  restricted  to  progres- 
sions of  fourths,  fifths,  and  octaves,  the  harmony  was  of 
the  most  rigid  kind,  imperfect  concords  being  at  that 
period  classed  as  discords. 

17.  Adam  de  la  Hale,  who  also  lived  in  the  13th 
century,*  was  a  famous  troubadoiu'  or  wandering 
minstrel,  and  wrote  songs  in  three-part  harmony,  the 
melodies  of  which  would  be  accounted  agreeable  even 
in  the  present  day.  In  character  the  songs  of  De  la 
Hale  are  not  unlike  the  popular  "  folk-songs "  of 
Southern  France  and  Northern  Spain,  as  still  sung  by 
the  rural  population  in  tliose  provinces.  As  in  those 
early  times  Church  music  was  exclusively  in  the  hands 
of  ecclesiastics,  so  these  troubadour's  were  the  chief 
composers  of  secular  music.  As  a  rule  they  also  wrote 
their  own  "  words."  Amongst  the  most  notable  trou- 
badours were  de  la.  Hale,  Chatelain  de  Courcy, 
(King)  Thibaut  of  Navarre,  and  Faidit. 

18.  Marchettus  of  Padua  (c.  13—),  is  credited  with 
having  "  established  tlie  first  correct  principles  in  the 
use  of  consonances  and  dissonances  ; "  while  to  Jean  de 
Meurs  (c.  1330),  who  was  probably  a  contemporary  of 
Marchettus,  is  ascribed  the  introduction  of  florid  coun- 
terpoint. It  is  supposed  by  some,  that  notwithstanding 
the  character  of  the  name,  Jean  de  Meurs  (or  de 
Muris)  was  an  Englishman. 

*  Czemy  fixes  the  date  at  about  1280. 


8  History  of  Music.  [i.  19 — 21. 

19.  (B.)  We  now  come  to  the  rise  of  tlie  Belgian 
School.  About  this  time  (llth  century)  Belgian  musi- 
cians began  to  devote  themselves  in  a  special  degree  to 
the  elaboration  of  counterpoint  (harmony  as  a  distinct 
branch  of  study  was  not  known  till  long  afterwards), 
and  so  distinguished  themselves  in  the  art  that  they 
won  the  best  appointments  in  France  and  Germany. 

20.  (B.)  The  first  important  name  in  the  Belgian 
series  is  that  of  Guillaume  Dufay  (1380 — 1430),  chapel- 
master  {muestro  di  cappella)  at  Eome.  He  harmonized 
many  existing  melodies,  both  sacred  and  secular,  in 
fairly  good  style,  for  four  voices.  He  also  wrote 
masses,  in  which  appear  some  excellent  specimens  of 
canon.  Dufay  was  followed  by  Johannes  Ockenheim 
[or  Ockeghem]  (1430 — 1513),  Avho  has  been  called  "  the 
Sebastian  Bach  of  the  15th  century,"  and  of  whom  some 
say  that  he  founded  the  canonic  or  fngal  style.*  This 
latter  assertion,  as  we  have  already  seen,  is  scarcely 
true.  As  to  canon  we  have  positive  evidence  that 
Dufay  was  familiar  with  that  form  of  writing,  while 
in  those  dnys  a  ''  fugue"  was  scarcely  more  than  a  free 
style  of  canon.  There  is  no  doubt,  however,  that  Oc- 
kenheim's  work  was  more  polished,  and  had  more 
breadth  and  design ;  but  he  fell,  with  his  contem- 
poraries, into  the  error  of  exhibiting  his  contrapuntal 
skill  at  the  expense  of  the  feeling  (jf  the  music. 

21.  (B.)  But  both  as  a  scholar  and  as  a  composer, 
Ockenheim  was  outdone  by  his  brilliant  contemporary 
and  pupil,  Jusquin  des  Pres  (1440 — 1521),  of  whom 
Luther  was  wont  to  say  that  he  was  "  master  of  notes, 
while  others  were  mastered  by  notes."  Various  amusing 
anecdotes  are  told  of  Des  Pres,  Avho  is  accused  of  making 
musical  puns  in  his  compositions  "  to  gain  his  private 
ends."  It  is  more  to  our  present  purpose  to  record  his 
originixlity  as  a  composer ;  for  he  was  one  of  the  first  to 
discard  the  old  cantus  jirinus  and  secular  motif,  and  to 

*  '  Stwter  is  a  cumen  in,'  an  English  composition  {c.  1250),  is, 
however,  an  earlier  instance  of  canonic  writing. 


I.  21 — 23.]  General  Summary,  9 

invent  his  own  musical  subjects.  Des  Pres  wrote 
several  masses  and  motetts,  in  four  and  in  five  parts. 
He  began  his  public  career  as  a  singer  in  the  pope's 
chapel,  but  subsequently  became  chapel-master  to 
Louis  XII.  of  France.  Des  Pres  numbered  among  his 
pupils  Arcadeldt,  Mouton,  Willaert,  Goudimel, 
Clemens  non  Papa,  and  other  excellent  musicians. 

22.  (B.)  Adrian  Willaert  (1490—1563)  is  fre- 
quently spoken  of  as  "the  founder  of  the  Venetian 
School."  As,  however,  Willaert  was  a  Belgian  both  by 
birth  and  by  training,  it  is  confusing,  if  not  altogether 
misleading,  to  disconnect  him  from  the  Belgian  School. 
Iiadeed,  we  doubt  if  the  existence  of  "  the  Venetian 
School "  is  sufficiently  distinct  and  apart  from  the 
Belgian  and  Roman  Schools  to  merit  a  separate  page  in 
the  annals  of  musical  history.  It  is  better,  therefore,  to 
class  the  Venetian  and  Roman  Schools  (after  the  time 
of  Willaert)  under  the  common  head  of  "  Italian." 
Willaert  received  his  training  from  Des  Pres, — some  say 
from  Mouton  also, — and  after  many  wanderings  finally 
settled  at  Venice,  where  eventually  he  obtained  the 
post  of  chapel-master  at  St.  Mark's.  Willaert  Avas  a 
voluminous  composer  of  songs  and  motetts,  some  of 
which  he  arranged  for  two,  even  three,  separate  choirs  ; 
and  to  him  is  ascribed  the  introduction  of  a  new 
feature — the  madrigal.  He  was  succeeded  at  St.  Mark's 
by  Cyprian  de  Eore,  a  pupil  and  fellow-countryman, 
who  became  so  popular  with  the  Italians  that  they 
styled  him  "  11  divino."  De  Rore  excelled  in  the 
madrigal.  Another  contemporary  of  WiUaert  was  J. 
Monton,  master  of  the  chapel  to  Francis  I.  of  France. 

2:3.  (3.)  The  most  distinguished  contemporary  of 
Willaert  was  Orlando  Lassus,  or  Lattre  (1520 — 
1595),  who  attempted  nearly  every  then-known  form 
of  composition,  but  devoted  himself  chiefly  to  Church 
music,  such  as  psalms,  hymns,  litanies,  magnificats, 
motetts,  &c.,  &c.  His  settings  of  the  Seven  Penitential 
Psalms,  for  five  voices,  are  amongst  his  best  works. 


10  History  of  Music.  fi.  23 — 25. 

Lassus  introduced  the  chromatic  element  into  mnsical 
composition,  as  well  as  such  musical  terms  as  Allegro 
and  Adagio.  He  was  greatly  eulogized  in  his  day,  -was 
spoken  of  as  "  the  prince  of  music  "  {mvsicce  princejys), 
and  received  the  order  of  the  Golden  Spur. 

24.  (B.)  With  Lassus,  the  famous  Belgian  School  is 
brought  to  a  close.  To  the  Belgians  we  owe  a  consider- 
able development  of  the  great  first  principles  of  the 
art ;  but  they  carried  their  scholasticisms  too  far,  and 
burdened  their  music  with  painful  elaborations  and 
curious  conceits.  The  spirit  was  lost  in  the  letter.  For 
material  on  which  to  build  their  numerous  contrapuntal 
devices  they  indiscriminately  selected  Gregorian  plain- 
chants  and  secular  melodies,  even  to  love  ditties  and 
comic  songs,  which  gave  their  titles  to  the  masses  and 
motetts  that  were  built  upon  them  ;  e.  g.  "  The  looses 
Eed,"  "  Adieu,  my  loves,"  were  well-known  titles  of 
sacred  compositions.  During  this  period  the  canonic 
or  imitative  form  of  counterpoint  was  developed ;  the 
iradrigal,  too,  was  introduced.  It  is  said  that  Bern- 
hardt, a  German,  invented  the  organ  pedal  about  the 
year  1490.*  Petruoci,  an  Italian,  was  the  inventor  of 
movable  music-types,  1502.  For  some  time  prior  to 
this  date  music  had  been  printed  from  large  wooden 
blocks  on  which  the  characters  were  engraved. 

25.  (E.)  We  have  now  to  speak  of  the  Early  English 
School,  which,  so  far  as  we  have  any  record,  was  in- 
augurated by  Dunstable,  who  died  in  1458.  He  has 
been  called  "  the  father  of  English  contrapuntists," 
and  was  reputed  as  excellent  a  musician  as  his  con- 
temporary, Dufay.  Another  early  writer  was  John 
Taverner  (c.  1530),  organist  of  Christ  Church,  Oxford. 
Christopher  Tye  (c.  1500—1560)  in  the  year  1545 
received  the  degree  of  Doctor  in  Music  from  the 
University  of  Cambridge.  Tye  was  afterwards  ap- 
])ointed   organist  of  the   Chapel  Royal,  and  was  the 

*  As  organ  pedals  were  in  existence  before  this  dnte,  the  truth 
probably  is  that  Bernhardt  introduced  them  about  this  timeat  Venice. 


I.  25,  26.]  General  Summary.  11 

music-master  of  Queen  Elizabeth,  who  prided  herself 
on  her  playing  of  the  Virginals, — a  kind  of  primitive 
pianoforte,  and  the  precursor  of  the  latter  instrument, 
Tye  wrote  a  number  of  works,  the  best  known  amongst 
them  in  the  present  day  being  the  anthem  /  will 
exalt  Thee,  0  Lord. 

26.  (E.)  The  reign  of  Queen  Elizabeth  was  prolific 
in  musicians,  as  it  was  in  authors,  f^oldiers,  and  states- 
men. John  Merbecke  (1523 — 1.585),  first  a  singer, 
afterwards  organist,  of  the  Chapel  lloyal  at  Windsor, 
suffered  many  trials  during  the  reign  of  Mary,  on 
account  of  his  profession  of  the  reformed  faith.  It  is 
even  said  that  he  narrowly  escaped  martyrdom.  Mer- 
becke's  principal  work  was  the  setting  of  the  English 
Liturgy  to  a  plain-song,  which  survives  and  is  commonly 
used  to  this  day.  It  was  Thomas  Tallis  (1529 — 1585) 
who  harmonized  (and  slightly  altered)  Merbecke's  can- 
ius.  The  skill  of  Tallis  as  a  contrapuntist  was  unsur- 
passed by  any  of  his  contemporaries  at  home  or  abroad. 
He  wrote  a  motett  in  no  less  than  forty  parts  :  of  the  art 
of  canon  he  was  a  consummate  master.  His  well-known 
"  Evening  Hymn,"  in  which  occurs  an  intinite  canon 
at  the  octave  between  the  treble  and  the  tenor,  is  an  ex- 
tract from  a  larg<^r  work.  A  notable  pupil  of  Tallis  was 
William  Byrde  (1543 — 1623),  composer  of  the  famous 
canon  Noti  Nobis  Domine,  and  one  of  the  chief  con- 
tributors to  Queen  Elizabeth's  "  Virginal  Book  "  —  a 
celebrated  collection  of  studies  for  the  Queen's  favouri'e 
musical  instrument.  Other  Church  composers  of  this 
period  were:  Richard  Farrant  {ct,.  1580 — 1),  whose 
reputed  anthem,  Lord,  for  Thy  tender  mercies'  salre*  is 
still  a  familiar  composition;  Robert  White  (d.  1580); 
and  Dr.  John  Bull  (d.  1622),  the  first  professor  of 
music  at  Gresham  College.    It  will  "be  noticed  that  two 


*  Recently  proved   to  be  by  Hilton.       A  service  in  G  minor, 
however,  still  remains  the  undisputed  work  of  Farrant. 


12  History  of  Music.  [r.  27—29. 

great  composers  of  this  period  died  Aviihin  the  same 
year  (1585),  namely,  Merbecke  and  Tallis. 

27.  (E.)  During  the  latter  half  of  the  16th  century 
the  "  madrigal "  became  exceedingly  popular  in  this,  as 
in  other  countries,  and  a  number  of  English  composers 
devoted  their  especial  eflbrts  to  this  form  of  composition. 
The  madrigal  may  be  briefly  described  as  a  part-song, 
of  a  light  and  generally  a  pastoral  character  (iii.  22). 
The  principal  madrigalists  of  this  time  were,  Thomas 
Morley,  Kirbye,  Dowland,  Weelkes,  Wilbye,  and 
Benet.  The  renowned  collection  entitled  "The  Triumphs 
of  Oriana,"  to  which,  with  Morley  at  their  head,  a 
number  of  composers  contributed,  was  published  in 
1601.     The  book  was  dedicated  to  Queen  Elizabeth. 

28.  (I.)  We  turn  now  to  the  rise  of  the  purely 
Italian  School,  which  is  generally  admitted  to  have  been 
inaugurated  by  the  compositions  of  Constanzo  Festa 
{d.  1545),  who,  although  trained  in  the  school  of  the 
Belgians,  rose  above  the  mere  scholasticisms  and  nar- 
rowing traditions  of  his  predecessors.  Festa  was  a 
member  of  the  Sist'ne  choir  at  Rome,  and  Avrote  a 
number  of  Church  compositions,  of  Avhich  a  Te  Deum 
has  sur\dved  to  this  day.     He  also  wrote  madrigals. 

29.  (I.)  But  the  chief  glory  of  that  period  was 
G.  Palestimna  (1514 — 1594)  who  lived  to  effect  a 
complete  revolution  in  the  style  of  musical  composition 
for  the  Church.  A  pupil  of  Goudimel  (1510 — 1572), 
himself  a  musician  of  no  ordinary  attainments,  Pales- 
trina  is  said  to  have  "  grasped  the  essential  doctrines  of 
Goudimel's  school  without  adopting  its  mannerism." 
In  1562  occurred  an  event  which  brought  Palestrina 
into  noble  prominence,  as  the  leader,  if  not  the  origin- 
ator, of  a  more  exalted  tone  in  sacred  music,  because 
more  religious  and  devotional.  In  that  year  (1562)  the 
famous  Council  of  Trent  expressed  its  condemnation  of 
the  frivolities  that  had  so  long  crept  into  compositions 
of  the  most  solemn  character — such  as  the  wholesale 
introduction  of  secular  airs  associated  in  the  popular 


1. 29,  30.]  General  Summary  13 

mind  with  amorous  or  humorous  words — and  demanded 
the  restoration  in  their  place  of  the  old  Gregorian  plain- 
chant.  This  sweeping  edict  was  strongly  resisted, 
however,  by  Pope  Pius  IV.,  who  prevailed  upon  the 
Councd  to  rest  their  decision  upon  a  new  work  to  be 
composed  for  that  purpose  by  Palestrina.  Palestrina 
undertook  the  commission,  and  in  1565  had  completed 
three  masses,  which,  on  their  being  performed  before  a 
Commission  of  Cardinals,  won  for  their  composer  the 
distinction  of  having  rescued  Church  music  from  a 
tlireatened  relapse  into  comparative  barbarism.  The 
best  of  these  three  works  was  dedicated  to  the  memory  of 
a  former  pope,  who  had  been  an  early  patron  of  Pales- 
trina, and  was  called  after  his  name  {Missa  Papce  Mar- 
ceJli).  During  his  long  and  brilliant  career,  Palestrina 
comj^osed  numberless  works,  including  several  masses 
— some  of  them  in  six  parts, — a  Stabat  Mate)-  for  two 
choirs,  Lamentations,  l7n2yroj)erla,  and  many  motetts. 
To  Palestrina  is  attributed  the  transposition  of  the 
cantus  firmus  or  principal  melody  of  a  composition, 
from  the  tenor  part,  where  hitherto  it  had  invariably 
been  placed,  to  the  soprano  or  highest  voice.  Palestrina 
was  succeeded  at  Eome  by  Felice  An  eric,  who  worthily 
continued  the  work  of  reformation  which  Palestrina 
had  so  well  begun.  We  must  not,  however,  omit  to 
mention  Nanini  {d.  1607)  a  contemporary  and  coUahora- 
tenr  of  Palestrina,  and  moreover  a  gifted  and  thought- 
ful writer.  Nanini  and  Palestrina  together  instituted  a 
school  in  Eome  in  Avhich  tiie  nuova  niiisica,  as  it  was 
called,  was  carefully  taught  and  faithfully  continued. 

30.  (I.)  Other  notable  contemporaries  of  Palestrina 
were  :  Christoforo  Morales  {b.  1510),  a  Spaniard,  who 
in  1540  was  admitted  into  the  Sistine  choir  at  Eome, 
and  wrote  many  compositions  for  the  Church.  His 
motett  for  six  voices,  Lament abatur  Jacobus,  is  still 
performed  in  the  Sistine  Chapel.  Luca  Marenzio 
(1550 — 1594),  called  "the  sweet  swan,"  composed  a 
number  of  Church  works,  but  especially  distinguished 


14  History  of  Mttsic.  [i.  30 — 32. 

himself  as  a  madrigalist.  Giuseppe  Zarlino  (1519 — 
1590),  besides  Avriting  many  elaborate  Church  com- 
positions, published  several  works  on  Musical  Theory. 
Giovanni  Gabrieli  (1540—1612),  a  nephew  and  pupil 
of  A.  Gabrieli  (a  great  contrapimtist  in  his  day), 
directed  his  chief  attention  to  the  improvement  of  com- 
positions for  combined  choirs.  He  also  made  some 
crude  attempts  at  orchestration  ;  amongst  his  works 
may  be  mentioned  In  Ecdesiis  BenecUcite  Domine  for 
two  choirs,  with  accompaniments  for  one  violin,  three 
cornets,  and  two  trombones  ;  also  Surrexit  Christus, 
for  three  voices,  two  violins,  two  cornets,  and  four 
trombones.  Tomaso  Ludovico  Vittoria  (1560 — 1608), 
a  Spaniard,  was  another  distinguished  Church  com- 
poser of  this  ])eri(Kl.  It  will  be  seen  that  we  have 
classed  these  Spanish  musicians  with  the  Italian 
School,  as  Spain  never  had,  properly  speaking,  a  dis- 
tinctive school  of  her  own. 

31.  (B.)  The  latest  lights  of  the  old  Belgian  School, 
which  was  now  fast  dying  out,  or  rather  was  merging 
into  the  Italian  School,  were :  Jacques  Arcadeldt 
(1500  —  1570);  Jacques  Clement  ("  non  Papa") 
(1500—1566) ;  Hubert  Waelrant  (1517-1595),  who 
made  certain  improvements  in  the  art  of  solmization ; 
Claude  Lejeune  (1540  — 1600);  all  prolific  and 
scholarly  writers.  Some  of  Arcadeldt's  compositions 
are  in  use  at  the  present  day,  and  are  highly  esteemed 
by  Church  musicians. 

32.  (I.)  Origin  OF  THE  Opera.  About  the  year  1580, 
we  find  a  society  of  literati  established  in  Florence  with 
the  object  of  instituting  a  revival  of  the  ancient  Greek 
art  of  musical  and  dramatic  declamation.  The  recitative 
was  thus  introduced,  in  imitation  of  the  intoned  recit- 
ations of  the  old  Greek  tragedies.  In  1594  was  pro- 
duced the  first  opera,  entitled  Dafiie,  the  words  by  the 
poet  Einucciui,  the  music  by  Peri.  In  this  work  the 
musica  parlante,  or  recitative,  in  a  somewhat  crude 
style,  was  first   represented.     The  success   of   Dafne 


1. 32,  33.]  General  Summary.  15 

called  forth  the  opera  Euridice,  of  which  Peri  and  his 
friend  Caccini  were  the  joint  composers.  Euridice 
was  produced  on  the  occasion  of  the  marriage  of  Mary 
de  Medicis  with  Henri  IV.  of -France,  at  Florence,  in 
the  year  1600.  But  it  was  reserved  for  Claudio  Mon- 
teverde  (1566 — 1650)  to  give  a  pronounced  form  to 
the  opera,  and  to  impart  to  the  recitative  a  more 
decided  character.  Monteverde  was  strongly  condemned 
by  his  contemporaries  for  the  unprecedented  licence  of 
his  harmonies,  as  well  as  for  the  freedom  of  his  melody. 
It  is  said  that  Monteverde  was  the  first  to  employ  the 
chord  of  the  dominant  seventh  without  preparation. 
His  principal  operas  were  Orfeo,  Arianna,  II  Ballo  delle 
Ingrate,  and  Tancred  and  Clorinde.  The  orchestras  of 
this  period  were  of  the  most  primitive  kind,  consisting 
of  one  or  two  flutes,  lutes,  viols,  and  a  harpsichord  or 
spinet,  the  players  generally  being  placed  behind  the 
scenes.  The  further  progress  of  opera  will  be  traced  in 
subsequent  pages  of  this  work. 

33.  (I.)  The  Rise  of  Oratorio.  The  development 
of  the  oratorio  progressed  side  by  side  with  that  of  the 
opera.  For  ages  it  had  been  the  custom  on  important 
ecclesiastical  occasions  to  perform  "  miracle-plays,"  or 
rude — we  might  say  profane — dramas  on  sacred  subjects. 
About  the  middle  of  the  16th  century,  St.  Philip  de 
Neri,  a  priest  of  Florence,  devoted  himself  to  the  im- 
provement of  these  performances,  and  introduced  his- 
torical scenes  or  sacred  allegories  in  the  course  of  the 
services  he  held  in  his  oratory.  (Hence  the  term 
Oratorio,  which  is  the  Italian  for  "  oratory.")  The  first 
oratorio  worthy  the  name  was  not  produced  till  the 
year  1600,  when  L Anima  e  corpo,  by  Emilio  del 
Cavaliere,  was  performed  at  a  church  in  Rome.  The 
composer  arranged  his  accompaniments  for  the  follow- 
ing instruments  :  a  double  lyre,  a  harpsichord,  a  double 
guitar  (or  theorbo)  and  two  flutes.  What  Monteverde 
did,  however,  for  the  opera,  was  effected  for  oratorio  by 
Giacciiio  Carissimi  (1580  — 1673).  who  made  many 


16  History  of  Music.  [i.  33 — 35. 

improvements  in  the  existing  form  of  the  recitative,  and 
invented  the  Arioso,  from  which  sprang  the  more 
elaborated  Aria.  His  best  known  works  are  Jephtha 
and  Jonah  ;  the  latter  oratorio  was  revived  a  few  years 
ago  by  Mr.  Henry  Leslie,  whose  celebrated  choir  has 
given  some  excellent  performances  of  the  work. 

34.  (I.)  The  most  noted  Italian  composers  of  this 
period  were:  Ludovico  Viadana  (1560 — 1625),  who 
is  said  to  have  composed  "  the  first  Church  concertos 
and  solo  songs  for  the  Church."  He  was  also  the  first 
to  write  harmony  as  distinguished  from  pure  counter- 
point, and  accom|)anied  his  voices  (generally  on  the 
organ)  from  a  hasso  cuntintiOy  or  figured  bass.  Whether 
he  actually  invented  the  "  figured  bass  "  is,  however,  a 
matter  of  some  doubt :  it  is  said  to  have  been  employed 
in  the  fiti-st  instance  by  Catalano  (h.  1595),  a  Sicilian, 
Viadana's  tenor  solo  Bone-Jesu,  had  an  accompani- 
ment of  two  trombones — an  odd  combination,  truly,  as 
it  would  seem  to  our  more  sensitive  ears.  Gregorio 
Allegri  (1580 — 1652)  was  another  active  writer  for  the 
Church  :  his  T)est  known  composition  is  a  Miserere, 
which  is  still  performed  at  the  "  Sistine,"  and  at  other 
Roman  Churches.  In  1877  this  composition  was  sung 
(for  the  tirst  time,  we  believe,  in  an  Anglican  Church) 
at  All  Saints',  Margaret  Street,  under  the  direction  of 
Mr.  W.  Stevenson  Hoy  te,  the  organist.  Orazio  Benevoli 
{d.  1672)  wrote  several  famous  motetts,  some  of  which 
are  scored  for  as  many  as  24  voices  with  brass  accom- 
paniments. Geronimo  Frescobaldi  (1587 — 1654)  wrote 
a  number  of  fugues,  madrigals,  and  Church  composi- 
tions, and  was  regarded  in  his  day  as  a  very  accomplished 
organist. 

35.  (G.)  The  German,  as  a  distinctive  school,  sprang 
from,  and  grew  up  with,  the  great  Protestant  movement 
under  Luther  (1483 — 1546),  which  began  about  1524 
Luther  introduced  the  Chorale,  from  which  our  modern 
hymn-tune  is  undoubtedly  derived,  and  to  Luther 
himself  are  attributed  several  fine  compositions  of  this 


I.  35,  36.]  General  Summary.  17 

order.  In  1524  a  collection  of  chorales  by  J.  Walther 
(1490 — 1555),  a  friend  of  Luther,  was  published  at 
Wittemberg,  under  the  immediate  supervision  of  Luther 
himself.  Luther  obtained  compositions  of  the  same 
kind  from  Goudimel  and  Clemens  non  Papa,  already 
mentioned.  Johann  Eecard  {h.  circa  1545),  Ludwig 
Senfl  (1490—1560),  Lucas  Lossius  (1508—1582),. 
Jacobus  Gallus,  or  Handl  (1550 — 1591),  amongst 
whose  works  is  a  motett  in  twenty-four  parts,  for  four 
choirs.  Melchior  Vulpius  (1560 — 1616),  Leo  Hassler 
(1564—1618),  M.  Praetorius  (1571—1621),  were  aU 
eminent  musicians  of  this  school  and  period.  But 
es])ecial  mention  must  be  made  of  Heinrich.  Schiitz 
(1585 — 1672)  who  has  been  called  the  "Father  of  Ger- 
man Oratorio."  He  wrote  The  Passion  according  to  the 
four  Evangelists,  the  Story  of  the  Resurrectioii  of  our 
Lord,  and  Seven  Last  Words.  Schutz  also  composed 
the  first  German  opera.  Daphne  (set  to  a  German 
translation  of  Rinuccini's  words),  which  was  performed 
at  Dresden,  1627. 

36.  (E.)  Reverting  to  the  English  School,  the  n^sxt 
important  name  is  that  of  Orlando  Gibbons  (1583 — 
1625),  Avho  was  born  at  Cambridge,  and  received  his 
musical  training  at  the  Chapel  Royal,  of  which  he  was 
appointed  organist  at  the  age  of  21.  Gibbons  attained 
to  a  leading  position  amongst  his  contemporaries,  was  a 
great  favourite  with  Charles  I.,  and  was  admitted  a 
Doctor  of  Music  at  the  University  of  Oxford.  Many 
of  his  Church  compositions  are  in  use  at  this  day — 
notably  the  antliem  Hosanna  to  the  Son  of  Da,vid, 
and  the  well-known  Church  Service  in  F.  Henry 
Lawes  (1600 — 1662)  was  a  prolific  and  highly-favoured 
writer — chiefly  of  secular  compositions — and  set  to 
music  several  "  masques "  (the  private  theatricals  of 
those  times),  the  best  known  among  which  is  Milton's 
Comus.  William  Child  (1608  —  1696)  is  another 
composer  of  this  period  whose  music  may  even  now  be 
heard  in  our  churches.  Matthew  Lock  (1620 — 1677) 
2 


18  History  of  Music.  [i.  36, 37 

is  chiefly  remembered  tbrougli  the  famous  "  Macbeth 
music,"  Av^jiic.h,  however,  is  more  probably  a  Avork  of 
Purcell's.  But  he  wrote  a  number  of  Avorks,  sacred  as 
well  as  secular.  His  opera  Psyche,  produced  in  1673, 
was  the  first  English  opera,  properly  so  called,  and 
was  also,  as  we  believe,  the  first  opera  presented  on  an 
English  stage.  Another  opera  composer  of  this  period 
was  John  Eccles  {b.  circa  1620),  but  his  works  have 
not  survived  him.  John  Blow  (1648 — 1708)  wrote 
some  excellent  anthem  3,  of  which  /  teas  in  the  Spirit, 
I  beheld,  and  la,  are  the  best  known.  Michael  Wise 
{d.  1687)  has  also  given  some  lasting  contributions  to 
Church  music. 

37.  (E.)  Henry  Ptoceix  (1658—1695)  has  with 
justice  been  styled  "  the  greatest  English  musical 
genius."  A  pupil  of  Dr.  Blow,  and  chorister  in  the 
King's  Chapel,  Purcell  had  the  inestimable  advantage  of 
a  sound  and  early  training.  At  the  early  age  of  18  he 
was  appointed  organist  of  "Westminster  Abbey,  and  in 
1677,  a  year  later,  he  composed  his  first  opera,  Dido 
and  ^neas.  This  work  made  at  once  a  foremost  place 
for  him  among  the  composers  of  his  time,  and  in  1690 
another  opera.  The  Tempest,  set  to  words  by  Dryden, 
added  still  further  to  Purcell's  reputation  as  a  dramatic 
composer.  Amongst  other  operas  by  Purcell  may  be 
mentioned  King  Arthur,  Diocletian,  Fairy  Queen, 
Timon  of  Athens,  Don  Quixote,  and  The  Libertine. 
His  music  to  the  masque  in  the  Tragedy  of  CEdijnis 
must  not  be  forgotten.  The  celebrated  12  sonatas 
for  the  violin,  including  the  one  called  "  The  Golden 
Sonata,"  were  composed  in  1683.  Almost  the  last 
Avork  of  Purcell  was  the  Te  Deum  and  Jubilate  in  D, 
with  instrumental  accompaniments,  recently  performed 
in  St.  Paul's  Cathedral,  at  a  festival  of  the  College  of 
Organists.  Purcell  Avas  also  an  accomplished  writer  for 
the  harpsichord,  and  indeed  scarcely  any  then-known 
form  of  composition  Avas  left  by  him  untried.  He  died  at 
the  early  age  of  37,  and  was  honoured  with  a  tomb  La 


1.  37,  38.]  General  Summary.  19 

Westminster  Abbey.  Jer.  Clark  {d.  1707),  another 
pni-il  of  Dr.  Blow,  and  a  contemporary  of  Purcell,  wrote 
cathedral  music  -which  is  still  performed.  The  well- 
known  anthem,  /  ^cill  love  Thee,  0  Lord,  is  perhaps 
one  of  his  best  works.  Dr.  Aldricli  (1647—1710), 
Dean  of  Christ  Church,  Oxford,  did  much  to  encourage 
musical  art  in  his  day,  and  was  himself  a  prolihc 
composer  of  Church  Services  and  anthems.  With  his 
name  we  close  the  record  of  English  musicians  of  the 
17th  century. 

38.  (E.)  William  Croft  (1677—1727)  has  given  the 
Church  some  noble  anthems,  exceedingly  popular  even 
now,  amongst  which  may  be  mentioned  God  is  gone 
up ;  0  Lord,  Thou  hast  searched  me  out, — for  three 
voices ; — O  Lord,  rebuke  me  not,  in  which  there  is  a 
fugue  in  six  parts ;  and  Put  me  not  to  rebuke.  In 
1715  Croft  was  made  a  Doctor  of  Music  at  Oxford. 
Maurice  Greene  (1698 — 1755)  wrote  some  English 
operas,  now  quite  forgotten,  and  many  Church  composi- 
tions. James  Kent  (1700 — 1736)  was  a  pupil  and 
great  admirer  and  imitator  of  Croft.  His  anthems 
Hear  my  Prayer,  and  0  Lord  our  Governor,  are  among 
the  most  popular  at  the  present  day.  J.  Weldon 
(1708 — 1736),  Avhose  anthem  Hear  my  Crying  gives 
evidence  of  the  writer's  skill  and  originality  as  a 
harmonist,  has  left  behind  him  work  only  sufficient  to 
cause  lasting  regret  at  his  untunely  death.  William 
Boyce  (1710 — 1779)  was  eminent  as  an  organist,  and 
wrote  many  organ  pieces  that  were  much  admired  in 
his  day,  but  he  is  now  known  chiefly  by  his  numerous 
vocal  compositions.  He  wrote  one  opera.  The  Ghaplet, 
and  one  oratorio,  Solomon  (which  by  the  way  he  terms 
a  serenata).  His  best  known  anthems  are,  By  the 
waters  of  Babylon,  The  Lord  is  King,  and  0  where 
shall  Wisdom.  He  took  the  degree  of  Mus.D.  at  Cam- 
bridge in  1749.  Thomas  Arne  (1710 — 1778)  wrote  as 
many  as  23  operas,  three  oratorios,  and  a  great  number 
of  anthems  and  songs.      John  Travers  {d.    1758)  ia 


20  History  of  Music.  [i.  38 — 40. 

another  Church  writer  of  this  period ;  his  anthem 
Ascribe  unto  the  Lord,  for  two  voices,  is  a  favourite 
composition  in  our  cathedral  choirs.  He  also  wrote 
some  canzonets,  or  short  songs,  for  one  and  two  voices. 
James  Nares  (1715 — 1783)  is  the  author  of  some  26 
anthems.  His  Service  in  F  is  frequently  sung  in  our 
churches,  and  is  likely  to  continue  popular  for  many 
years,  as  it  is  at  once  simple  and  melodious.  Jonathan 
Battishill  (1738 — 1801)  wrote  several  operas,  and 
many  antliems,  the  latter  including  the  celebrated  com- 
position for  seven  voices.  Call  to  Remembrance.  Samuel 
Arnold  (1739 — 1802)  wrote  40  English  operas  and 
seven  oratorios,  besides  many  Church  compositions. 
Perhaps  his  continuation  of  Boyce's  Church  Service  iu 
A  is  the  best  known  of  all  his  works. 

39.  (G.)  There  would  seem  to  exist,  in  the  German 
School,  the  want  of  a  definite  link  between  Schiitz  and 
B-ach ;  but  Professor  Ritter  mentions  one  John  Seba3- 
TiANi  {circa  1660),  who  appears  to  fill  the  gap.  Sebas- 
tiani  wrote  a  version  of  the  Passion  which  was  pro- 
duced in  1672,  the  year  in  which  Schiitz  died.  This 
work  contains,  we  are  told,  a  number  of  chorales 
arranged  in  good  counterpoint,  inters] lei-sed  with  tenor 
recitatives,  all  accompanied  by  strings.  From  this 
description  there  is  little  doubt  that  Bach  based  the 
form  of  his  own  Passion-music  upon  that  of  Sebastian!. 
Reinhard.  Keiser  (1673—1739),  a  native  of  Leipsic, 
besides  composing  more  than  100  operas,  wrote  "  The 
Bleeding  and  Dying  Jesus,"  an  oratorio  which  he  pro- 
duced at  Hamburg  in  1704.  In  this  work,  however, 
the  usual  recitations  and  chorales  were  omitted. 

40.  (G.)  JoHANN  Sebastian  Bach  (1685  — 1750), 
born  of  a  race  of  musicians,  was  the  son  of  J.  A. 
Bach,  organist  of  Eisenach.  At  an  early  age,  and 
close  upon  the  death  of  his  father,  he  began  his  mu- 
sical training  under  the  care  of  his  elder  brother,  J. 
Christopher  Bach,  Avho  also  died  when  Sebastian  was 
but  fourteen,  leaving  him  without  friends  or  means. 


I.  40.]  General  Summary.  21 

Bach,  having  a  fine  treble  voice,  entered  a  choir  in 
Liineberg,  where  he  remained — long  after  he  had  lost 
his  voice — until  his  eighteenth  year,  when  he  managed 
to  obtain  a  place  amongst  the  violinists  in  the  Court 
band  of  the  Duke  of  Saxe- Weimar.  Shortly  afterwards 
he  was  appointed  organist  at  Arnstadt,  and  during  the 
fire  years  he  held  this  position  gave  much  time  to  self- 
improvement  both  in  composition  and  in  playing.  In 
1708  Bach  removed  to  Weimar  as  Court  organist,  and 
his  reputation  both  as  organist  and  harpsichord  player 
now  rapidly  spread  through  the  surrounding  States.  In 
1723  he  was  appointed  to  the  directorship  of  the 
Thomas-Schulc  at  Leipsic,  a  post  which  he  held  until 
his  death.  In  1725,  Bach  had  completed  the  first 
volume  of  his  Wohltemperlrta  Klavicr  (well-tempered 
Clavier) — the  well-known  forty -eight  preludes  and 
fugues.  This  work  was  not  com  piloted  till  the  year 
1740.  His  greatest  works,  the  Passion  according  to  St. 
John,  and  that  of  St.  Matthew,  were  produced  in  1729. 
A  third  Passion-ovaXovio,  St.  Lidie,  has  also  been 
attributed  to  Bach,  but  the  authorship  is  held  to  be 
somewhat  apocryphal.  The  Matthew- Pass/on  is  un- 
doubtedly Bach's  finest  work  :  the  dramatic  double 
choruses,  the  expressive  solos  with  their  occasional  ob- 
bligato  accompaniments  for  instruments,  the  exquisitely 
harmonized  chorales,  proclaim  alike  his  scholarship,  his 
genius,  and  his  unfeigned  piety.  The  Christmas 
Oratorio,  a  smaller  work,  but  containing  many  cha- 
racteristic beauties,  was  produced  in  1734.  It  is  said 
that  the  Christmas  Oratorio  was  originally  intended  for 
performance  in  six  portions  on  six  separate  occasions 
during  Christraastide.  Bach's  writings  are  numerous 
and  varied  in  character.  His  mass  in  B  minor  (for 
although  a  zealous  Protestant  he  wrote  several  masses), 
composed  in  1733,  has  recently  been  performed  in  this 
country.  His  suites  des  jneces  for  the  harpsichord  will 
always  form  valuable  studies  for  pianoforte-players. 
The  Suites  Anglaises,  composed  at  the  request  of  an 


22  History  of  Music.  [i,  40, 4i. 

English  amateur,  rank  among  the  best  of  Bach's  efforts 
in  this  style  of  composition.  The  celebrated  Art  of 
Fugue  (1749)  was  among  the  last  of  Bach's  works,  and 
was  written  shortly  before  his  blindness.  Two  of 
Bach's  sons,  Friedemank  Bach  (1710 — 1784)  and  C. 
Philipp  Emanuel  Bach  (1713 — 1788),  were  well- 
esteemed  musicians  in  their  time.  The  latter  in  his 
Instruction  Book  for  playing  the  clavichord  (1753) 
introduced  a  new  system  of  "fingering,"  \yhich  was 
soon  generally  adopted,   (iii.  37.) 

41.  (G.)  George  Feedeeick  Handel  (1G85 — 1759) 
was  originally  intended  for  the  legal  profession,  but 
evinced,  at  a  very  early  age,  a  strong  predilection  for 
music,  and  practised  upon  the  harpsichord  for  some 
time  in  secret.  When  he  was  about  seven  years  old  he 
accompanied  his  father  on  a  visit  to  the  Court  of  the 
Duke  of  Saxe-Weissenfels,  and  there  accidentally  found 
an  opportunity  of  playing  upon  the  organ  in  the  ducal 
chapel.  The  duke  was  struck  by  the  child's  perform- 
ance, and  at  length  persuaded  the  father  to  devote  his 
son  to  the  art  as  a  profession.  Handel  was  at  onco 
placed  under  the  care  of  Frederick  Zachau,  cathedral 
organist  at  Halle,  Handel's  native  town.  Four  years^ 
afterwards  he  went  to  Berlin,  where  he  first  met  hia 
future  rival,  Bononcini.  Very  shortly,  however,  his 
father  recalled  him  to  Halle,  having  declined  an  offer 
to  send  the  youth  to  Italy  for  the  purpose  of  complet- 
ing his  studies.  On  the  death  of  his  father,  Handel 
went  to  Hamburg  as  a  violinist  in  the  opera  house. 
Here  he  composed  and  produced  his  first  opera,  Ahnira, 
1705.  This  was  rapidly  followed  by  other  successful 
operas — Nero,  Florinda,  and  Dajjhne — all  in  the  same 
year.  In  1706  Handel  went  to  Florence,  and  at  once 
established  his  reputation  there  by  the  production  of 
Roderigo.  He  removed  thence  to  Venice,  and  the  opera 
Agrippina  made  hiin  very  popular  with  the  Venetians. 
At  Eome,  Handel's  first  oratorio,  The  Resurreciion,  was 
written  and  performed;    and  at  Naples,  the  pastoral, 


1. 41.]  Oeneral  Stimmart/.  23 

Act  Galatea  e  PoUfemo,  from  which  latter  work  his 
later  cantata,  Acts  avd  Galatea,  was  in  part  derived.  On 
his  return  to  Germany,  in  1710,  Handel  was  appointed 
chapel-master  to  the  Elector  of  Hanover.  The  same 
year  he  visited  England;  and  in  1711  Rinaldo  was  pro- 
duced at  the  Haymarket  with  extraordinary  success. 
After  a  short  absence  in  Hanover,  Handel  returned  to 
England,  and  composed  (1713)  the  Avell-known  Utrecht 
Te  Deum  and  Jubilate,  which  was  sung  in  St.  Paid's 
cathedral,  the  queen  (Anne)  being  present.  On  the  succes- 
sion of  the  Elector  of  Hanover  to  the  throne  of  England 
(1714)  Handel  had  cause  to  be  apprehensive  of  the 
consequences  of  his  neglect  of  the  chapel-mastership 
at  Hanover,  and,  it  is  said,  composed  the  Water  Music 
with  a  view  to  appeasing  the  wrath  of  his  sovereign. 
However,  he  rega  ned  the  favour  of  George  I.,  and 
retained  it  as  Icmg  as  that  monarch  lived.  Handel's 
oratorio  on  the  Passion  was  written  in  Hanover  in  the 
year  1717,  but  was  first  performed  at  Hamburg.  In  the 
same  year  he  was  appointed  director  of  the  music  at 
the  chapel  of  the  Duke  of  Chandos,  who  resided  at 
Cannons.  The  celebrated  Chandos  Te  Deums  and 
Antliems  were  composed  here.  In  1720,  an  attempt 
was  made  to  revive  Italian  Opera  in  London,  and  an 
association  of  persons,  under  the  title  of  the  Eoyal 
Academy  of  Music  (not  to  be  confounded  with  the 
existing  institution  of  that  name),  was  formed  to  pro- 
mote the  scheme,  with  Handel  as  musical  director  and 
composer.  The  first  opera  was  Radamistus,  and  its 
success  was  complete.  Handel's  first  English  oratorio, 
Esther,  was  composed  in  the  same  year,  and  produced  at 
Cannons;  and  in  1721  the  mw  Ads  and  Galatea  was 
performed.  About  this  time  there  was  a  serious 
division  amongst  the  directors  of  the  Haymarket  opera, 
and  Bononcini  and  Attilio  were  brought  ovei  from  Ger- 
many in  oppositi(m  to  Handel.  These  circumstances 
ultimately  led  to  the  dissolution  of  the  society,  in 
1728.     For  this  opera,  Handel  wrote  Muzio  Sccevola, 


24  History  of  Music.  [i.  4i, 

Floridante,  OtJw,  Giulio  Cesare,  Flavius  (where  occurs 
the  Doni  pace)  Rodelinda,  Scipio,  Alexander,  Adnjitus, 
and  Ptolemy.  In  1729,  he  organized  a  new  opera 
company,  and  wrote  Lothario,  Parthenope,  Porus, 
JEtius,  Sosarme,  and  Orlando ;  but  the  enterprise 
proved  a  failure.  Upon  this  Hamlel  had  recourse  to 
oratorio,  and  in  1732  revived  Esther,  the  success  of 
which  led  to  the  performance  of  Acis  and  Galatea. 
This  was  followed  by  Deborah  (1733).  In  this  year 
Handel  visited  Oxford,  where  he  produced  Athaliah, 
and  in  consequence  of  its  success  was  offered  the  degree 
of  Doctor  in  Music,  which,  however,  he  declined.  For 
the  next  two  or  three  years  Handel  again  busied  him- 
self with  opera,  and  was  again  unsuccessful :  during 
this  period  Semiramis,  Arbaces,  Ariadne,  Pastor  Fido, 
Dido,  Berenice,  and  Xerxes  were  produced,  as  Avell  as 
Alexander's  Feast,  the  only  successful  work  of  this 
series.  For  a  time  Handel  now  gave  his  attention  to 
the  renowned  organ-concertos,  which  give  abundant 
proof  of  his  exceptional  skill  as  an  organist.  In  1738 
the  oratorio  Said  was  written,  and  in  1739  it  Avas  pro- 
duced and  most  favourably  received,  at  the  Haymarket. 
Israel  in  Egypt  was  commenced  immediately  after  the 
completion  of  Saul,  Avhich  it  followed  at  the  Hay- 
market  ;  then  came  The  Ode  on  St.  Cecilia's  Day.  The 
12  grand  concertos  for  harpsichord  and  strings  appeared 
the  same  year,  while  shortly  afterwards  (in  1740), 
L' Allegro  ed  II  Penseroso  was  produced ;  these  failed 
at  the  first  performance.  Handel's  great  masterpiece, 
The  Messiah,  composed  in  1741,  and  rejected  in  Lon- 
don, was  performed  at  Dublin  in  1742  and  received 
with  the  greatest  enthusiasm.  Tlie  MesUah  Avas  fol- 
lowed by  Sainson,  1743  ;  *  Belshazzar,  1744  ;  Hercides, 
1744  ;  Joseph,  1744  ;  Judas  Maccabceus,  1747  ;  Joshua, 
1747;  Solomon,  1748;  Tlieodora,  1749;  Susanna, 
1749  ;  Jephtha,  1751.     The  Dettingm  Te  Deum  dates 

*  In  Sainson  the  Dead  March  in  Saul  reappears. 


I.  41,  42.]  General  Summary.  25 

1743.  During  tlie  last  seven  or  eight  years  of  his 
life  Handel  AA'as  afilicteJ  with  total  blindness.  He  died 
on  Good  Friday,  1759,  and  was  bm-ied  in  Westminster 
Abbey.  Many  of  his  smaller  works  have  not  been 
mentioned,  but  an  exception  must  be  made  in  the  case 
of  the  Suites,  in  which  The  Harmonious  Blac/csmith  is 
included. 

42.  (G.)  Among  the  more  conspicuous  German  con- 
temporaries of  Bach  and  Handel,  Hasse  and  Graun 
deserve  especial  mention.  J.  A.  Hasse  (1699—1783), 
whom  the  Italians  honoured  as  "  the  divine  Saxon," 
excelled  both  in  oratorio  and  in  opera.  But  (I.)  the 
writings  of  Hasse  were  all  more  or  less  formed  upon 
Italian  models,  and  therefore  should  properly  be  classed 
as  belonging  to  the  Italian  School.  Schliiter  tells  us 
that  "  of  Hasse,  a  grand  and  noble  Te  Deum,  as  well 
as  a  Hequiem  (according  to  Krause,  superior  even  to 
^lozart's),  are  still  annually  performed  in  the  Catholic 
Court  Church  at  Dresden.  On  the  other  hand,  the 
light  Italian  style  and  opera  air  appear  without  disguise 
or  reticence  in  his  masses  and  oratorios."  C.  H.  Graun 
(1701 — 1759)  is  now  chiefly  remembered,  through  hia 
great  "  passion"  work,  Z>e/'J'oci/e.>7<  (The  Death  of  Jesus), 
which  has  recently  been  revived  in  Germany,  and  also 
in  this  country.  J.  A.  Hiller  (1728 — 1804)  composed 
a  number  of  light  operas  or  operettas,  including  the 
celebrated  Liederspide.  Georg  Benda  (1722 — 1795) 
was  another  prolific  writer  of  opera  ;  Ariadne  auf  Naxos 
and  Medea  are  his  principal  works.  Mozai't  was  greatly 
impressed  Avith  the  beauty  of  Medea,  which  he  heard 
during  his  visit  to  Mannheim  in  1778.  In  the  course 
of  his  observations  on  this  melodrama,  i\Iozart  writes  : — 
"  It  is  not  simg,  but  declaimed,  and  the  music  is  like 
a  recitative  ohbli(/ato  ;  sometimes  there  is  talking  amid 
the  music,  which  has  a  splendid  effect."  J.  G.  Nau- 
mann  (1741 — 1801)  principally  devoted  himself  to 
Church  music :  his  JDixs  Vater  Unser,  a  setting  of 
Klopstock's  paraphrase   of  the  Lord's  Prayer,  is  his 


26  Jlidory  of  Mtme.  [i.  43,  44. 

chief  composition.  F.  H.  Himmel  (1765 — 1814)  was 
a  popular  composer  of  opera,  his  Fanchon  being  among 
the  most  successful  of  his  Avorks. 

43.  (I.)  Alessandro  Scarlatti  (1659 — 1725)  gave  to 
the  oratorio  a  more  decided  form  than  it  hail  at  the  hands 
of  Carissimi  and  his  contemporaries.  He  introduced 
inde]iendent  movements  {intermezzi)  for  the  orchestra, 
which  he  greatly  improved,  and  divided  the  aria  into 
three  distinct  portions.  He  wrote  masses,  oratorios, 
operas,  and  other  compositions ;  and  his  celebrated 
fugue  for  two  choirs  Tu  es  Petrus,  is  still  occasionally 
performed  at  St.  Peter's  in  Rome.  His  son,  Domenico 
Scarlatti,  Avas  a  popular  harpsichord  player  and  com- 
poser for  that  instrument.  F.  Durante  (1684—1755) 
wrote  exclusively  for  the  Church,  in  which  branch  of 
the  art  he  did  good  service,  but  his  claim  to  a  place 
in  musical  history  rests  chiefly  upon  his  having  been 
the  master  of  several  musicians  of  eminence,  including 
F.  Feo,  who  composed,  inter  alia,  a  grand  mass  for  two 
choirs  (A.  Stradella,  composer  of  several  fine  oratorios, 
among  them  *S^.  John  the  BajJtist,  is  also  accounted  one 
of  Durante's  pupils,  though  there  is  apparently  sonie 
evidence  to  the  contrary) ;  Duni,  Terradeglias,  Jo- 
melli  (1714 — 1774),  and  Piccini,  hereafter  mentioned. 
An  important  contemporary  of  Durante  was  Leonardo 
Leo  (1694 — 1746),  whose  oratorio.  The  Death  of  Ahel, 
is  highly  spoken  of  by  historians.  Other  Italian  or 
^Neapolitan  musicians  of  this  period  were  G.  P.  Pergo- 
lesi  (1710 — 1736),  composer  of  a  Stabat  Muter  and 
several  operas  ;  G.  Sacchmi  (1735 — 1786) ;  Guglielmi, 
Galuppi,  Lotti  (1660 — 1740),  avIio  adopted  the  then 
modern  style  in  his  operas;  A.  Caldara  (1674 — 1763), 
one  of  the  greatest  masters  of  fugue;  Marcello  (1680 
— 1739),  author  of  the  Paraphrases  on  the  50  Psalms 
of  David. 

44.  (French  Opera.)  Originally  an  offshoot  of  the 
early  Italian  Opera,  which  was  introduced  into  France 
by  Cardinal  !Mazarin,  about  the  year  1645,  the  French 


I.  44.]  General  Summary.  27 

School  of  Opera  boasts  a  numerous  array  of  com- 
posers. The  first  genuine  French  work  was  La  Pas- 
torale, composed  (in  1659)  by  E.  Cambert.  But  the 
actual  founder  of  the  French  school  was  J.  B.  LuUy 
(1633—1687),  who,  though  by  birth  an  Italian,  was 
brought  up  in  the  household  of  the  French  monarch 
(Louis  XIV.)  and  was  placed  in  the  king's  private 
baud  as  a  violinist.  His  Tragedies  lyriques  consisted 
mainly  of  recitatives  and  choruses ;  here  he  generally 
ignored  the  aria  and  the  duet^  both  so  highly  character- 
istic of  the  Italian  School.  Lully  is  regarded  as  the 
originator  of  the  overture,  Avhich  he  generally  composed 
in  two  parts — the  first  an  adagio,  or  slow  movement,  the 
second  a  sprightly  minuet,  or  a  fugue.  Lully  was  suc- 
ceeded by  J.  P.  Rameau  (1683 — 1764),  the  renowned 
mathematician  and  writer  on  musical  theory,  who 
greatly  improved  upon  Lully's  style,  by  introducing  a 
greater  variety  in  the  melody  and  harmony  of  his  vocal 
writings.  His  principal  opera,  Cador  and  Pollux,  was 
a  popular  work  Avith  the  French  for  many  years,  despite 
the  strictures  of  Rousseau,  who  complained  that  Ea- 
meau's  harmonies  were  far-fetched,  and  destructive  of 
tune.  An  attempt  was  made  recently — in  Paris — to 
effect  a  revival  of  Castor  and  Pollux,  but  the  writer  is 
not  aware  whether  it  was  successful.  During  the  life- 
time of  Rameau  (1752),  a  rival  opera  company,  imported 
from  Italy,  caused  no  small  stir  amongst  Frencli  mu- 
sicians. This  company,  whom  the  French  styled  "  Les 
Bouffons,"  introduced  a  species  of  comic  operetta,  or 
opera-houffe,  on  the  French  stage  :  but  in  a  short  time 
Les  Bouffons  were  compelled  to  leave  the  country, 
through  the  persistent  opposition  of  the  French  or 
"  National  "  party.  But  they  had  left  behind  them  the 
taste  for  opera-bouffe,  and  several  French  composers 
produced,  almost  immediately  upon  the  departure  of 
the  Italians,  a  number  of  comic  operettas — amongst 
them,  Les  Troqueurs,  by  D'Auvergnb  (1713 — 1797). 
Among  other  contemporaries  of  Eameau,  were  .I)uni 


28  History  of  Music.  [t.  44,  45. 

(1709— 1775),  Philidor,  and  MoNsiGNY  (1729—1817), 
the  composer  of  Le  DesKrteur,  and  Rose  et  Colas. 
These  paved  the  way  for  Gretry  (5  741  — 1813),  in 
whose  reign  the  French  operetta  reached  its  zenith. 
Despite  the  example  of  his  great  predecessor  Eameau, 
Gretry  had  recourse  to  the  developed  aria  form,  which 
he  frequently  introduced  in  connection  with  the  recita- 
tives. Gretry's  Richard  Cmur-de-Lion  and  Zemire  et 
Azor  achieved  for  their  writer  an  immense  popularity 
in  his  own  day,  and  they  have  both  been  performed  in 
Paris  in  recent  years.  Among  the  most  fii-^oured  con- 
temporaries of  Gretry  were  :  D'Alayrac  (1753 — 1809), 
composer  of  Nina  and  Lps  deux  Savoijai-ds — both  lately 
revived;  Berton  (1766 — 1844),  composer  of  Montana 
et  Steplianie,  Ponce  de  Leon,  Le  Delire,  Aline,  and  other 
works  of  a  similar  character;  Simon  Catel  (1773 — 
1830),  whose  opera  Semiramis  has  been  placed  on 
the  French  boards  very  lately;  and  lastly,  Nicolo 
Isouard  (1777 — 1818),  a  native  of  Malta,  composer  of 
the  much-admired  Ceiidrillon.  These  names,  with  those 
of  BoiELDiEU,  GossEC,  and  Mehul,  the  celebrated  author 
of  Joseph,  bring  us  down  almost  to  the  present  generation 
of  French  composers. 

45.  (I.)  Ch.  W.  Gltick  (1714—1787),  a  native  of 
Bohemia,  received  his  training  at  Prague  and  Vienna ; 
and  subsequently  at  Mdan,  Avhere  he  studied  Italian 
opera  under  Samartini.  In  1741,  his  first  opera  ^?*- 
taxerxes  was  produced  at  Milan,  and  its  success  en- 
couraged him  to  write  Chjtemnestra  and  Demetrio, 
which  were  produced  at  the  same  theatre.  In  1745, 
Gluck  visited  England,  and  his  Caduta  del  Giganti 
and  Artamene  were  produced  at  the  Haymarket,  with, 
however,  but  doubtful  success.  After  a  few  years'  stay 
in  this  country,  Gluck  returned  to  Vienna,  and  thence 
went  to  Rome,  where,  in  1754,  La  Clemenza  di  Tito  a 
Antigone  were  well  received.  He  afterwards  went  to 
Florence,  and  the  real  importance  of  this  visit  consists 
in  the  valuaDle  friendship  which  Gluck  then  formed 


I.  45 — 47.]  General  Summary.  29 

with  the  poet  Calzabigi,  whose  schemes  for  the  im- 
provement of  opera  were  cordially  entered  into  by  the 
composer.  The  residt  was  the  production  in  1764*  of 
Orfeo,  at  Vienna,  on  the  occasion  of  the  marriage  of 
the  Emperor  Joseph  II.  In  Orfeo,  the  drama  is 
released  from  the  old  restraints  and  conceits  with  which 
Italian  opera  had  too  long  been  burdened,  and  the 
music  was  written  with  a  view  to  heightening  the 
dramatic  effect  of  the  work.  The  opera  met  with  an 
unqualified  success,  and  fully  established  Gluck  in  the 
front  rank  of  composers.  This  work  was  followed,  in 
1767,  by  Alceste,  which  was  a  further  development  of 
the  same  art  principles.  This  work,  however,  was  not 
so  well  received  as  ihe  composer  had  reason  to  expect, 
and  in  his  disappointment  he  turned  to  Paris,     (46.) 

46.  (F.)  Gluck  arrived  in  Paris  in  1773,  and  early 
in  1774  Iphigenie  en  Aulide  was  performed,  and  ulti- 
mately gained  him  his  footing  in  the  French  capital. 
He  subsequently  adapted  to  the  French  stage  his 
Orfeo  and  Alceste.  The  advent  in  Paris  of  a  formidable 
rival,  Piccini  (1728 — 1800),  who  sought  to  establish  in 
France  the  old  and  exploded  form  of  Italian  opera, 
created  some  sensation,  and  aroused  considerable  party 
feeling.  This  occurred  in  1776.  The  musical  world  in 
Paris  was  split  into  two  powerful  parties,  the  '•'  Gluck- 
ists"  and  the  "  Piccinists,"  and  the  controversy  was 
carried  on  with  a  good  deal  of  unnecessary  acrimony. 
In  1777  Gluck  produced  Armide  ■  which,  however, 
suffered  a  temporary  eclipse  by  the  production  in  the 
following  year  of  Piccini's  Roland.  Gluck's  Iphigenie 
en  Tauride,  however,  in  1779,  practically  asserted  his 
triumph,  although  the  rivalry  continued  until  his 
death  in  1787. 

47.  (G.)   Joseph   Haydn   (1732—1809)  was  born 


*  Some  writers  give  1762  as  the  date  of  Orfeo.  while  Alceste 
has  been  assigned  to  the  years  1766,  1767,  aud  1769  respect- 
ively. 


30  History  of  Music.  [i.  47. 

of  poor  parents,  in  the  village  of  Rohrau,  on  the  Aus- 
trian frontier.  His  first  step  in  a  long  nmsical  career 
■was  in  the  capicity  of  a  chorister  in  the  Cathedral  of 
St.  Stephen,  at  Vienna,  not  many  miles  from  his  native 
place.  Here  he  remained  eight  years,  and  during  tliis 
period  received  lessons  on  the  violin  and  harpsichord 
from  the  cathedral  choir-master,  Reuter.  It  is  said 
that  Haydn  practi-^ed  at  least  sixteen  hours  a  day.  His 
first  lessons  in  composition  were  obtained,  not  from 
Eeiiter,  but  from  Fux's  Gradus  ad  Parnassuin,  which 
he  studied  without  the  help  of  a  master.  On  quitting, 
when  his  voice  had  broken,  the  cathedral  choir,  Haydn 
suffered  a  good  deal  of  privation,  and  scraped  together 
a  scanty  living  by  means  of  harpsichord  lessons.  After 
some  rebuffs,  he  obtained  the  position  of  personal 
attendant  upon  jSTicolo  Porpora,  a  popular  singing- 
master  of  that  day,  who  allowed  Haydn  the  privilege 
of  playing  the  accompaniments  during  the  singing 
lessons,  and  eventually  gave  him  a  good  deal  of  valu- 
able instruction  in  singing  and  composition.  While 
thus  engaged,  Haydn  contrived  to  secure  one  or  two 
poorly  paid  appointments,  such  as  the  choir- mastership 
of  a  church  in  Vienna,  the  organistship  of  a  private 
chapel,  and  the  position  of  tenor  singer  in  the  Cathe- 
dral of  St.  Stephen.  About  the  year  1750,  when  he 
was  18  or  19,  Haydn  obtained  his  first  introduc- 
tion to  the  public  through  the  instrumentality,  it  is 
said,  of  one  Curtz,  a  comic  actor,  who  commissioned 
him  to  compose  an  opera,  The  Devil  on  Two  Sticks. 
This  was  represented  at  one  of  the  Vienna  theatres,  and 
had  a  short-lived  success.  Haydn  next  devoted  himself 
to  the  composition  of  instrumental  trios  and  other 
chamber  music,  which  at  once  made  him  popular,  not- 
withstanding the  opposition  he  met  with  from  certain 
quarters  on  account  of  supposed  musical  heresies.  His 
reputation  as  a  youthful  composer  of  promise  brought 
him  to  the  notice  of  Prince  Esterhizj^,  an  enthusiastic 
amateur,  who,  struck  Avith  the  merit  and  originality  of 


I.  47.]  General  Summary.  31 

a  new  symphony  of  Haydn's,  retained  the  composer  in 
his  private  service  ;  subsequently  (1760)  giving  him  the 
appointment  of  chapel-master — a  post  which  he  con- 
tinued to  hold  till  the  death  of  the  prince,  in  1790. 
During  his  tenure  of  office,  Haydn  comjjosed  a  large 
number  of  symphonies,  operas,  masses,  concertos,  trios, 
quartets,  and  other  vocal  and  instrumental  works.  In 
1790  he  was  induced,  on  the  earnest  representations  of 
Salomon,  to  visit  London,  where  Salomon  acted  as 
director  of  the  "  Professional  Concerts,"  the  scheme  of 
which  was  very  similar  to  that  of  the  present  "  Phil- 
harmonic Concerts."  Under  agreement,  Haydn  pro- 
duced either  a  symphony  or  a  smaller  composition  at 
each  concert  given  by  Salomon.  The  success  of  this 
professional  campaign  induced  Haydn  to  revisit  London 
(in  1794),  where  he  remained  mitil  the  May  of  tlie  fol- 
lowing year.  During  his  two  visits  he  composed  the 
group  known  as  the  London  Symphonies,  twelve  in 
number,  which  rank  amongst  the  finest  of  his  orches- 
tral works.  On  his  return  to  Vienna,  he  retired  from 
professional  and  public  life,  but  still  busied  himself  in 
composition,  and  in  1798 — at  the  age  of  66 — produced 
his  gi'eat  oratorio,  The  Creation.  This  work,  the  words 
for  which,  it  is  said,  were  originally  written  (by  Lidley) 
for  Handel,  produced  a  profound  impression  at  the  first 
performance,  which  took  place  in  the  Schwartzenberg 
Palace,  Vienna.  The  fame  of  The  Creation  soon  spread 
through  Europe ;  in  England  it  has  long  been  second 
only  to  The  Messiah  in  popular  favour.  Thomson's 
well-known  poem  furnished  the  subject  for  Haydn's  next 
oratorio,  The  Seasons,  which  was  completed  in  1801. 
This  was  Haydn's  last  important  work.  A  complete 
list  of  his  compositions  would  fill  two  or  three  pages  of 
this  book ;  they  have,  however,  been  summarized  as 
follows: — "Symphonies,  118;  quartets,  83;  concertos, 
24;  trios,  24;  sonatas,  44;  operas,  19;  masses,  15; 
dances,  about  400;  pieces  for  the  baryton  (a  species  of 
viol-da-gamha),  163;"  but  this  summary  is  by  no  means 


32  Historij  of  Music.  [i.  47,  4s. 

exhaustive.  In  oratorio,  besides  The  Creation  and  The 
Seasons,  must  be  mentioned  Tiie  Return  of  Tobias;  and 
lastly.  The  Seven  Last  Words — a  beautiful  but  litlle- 
knovvn  work,  lately  revived.  (The  Seven  Last  Words 
was  performed  in  the  church  of  St.  Peter,  Bayswater, 
on  Good  Friday,  1876,  and  again  in  1877,  under  the 
direction  of  Mr.  Edwin  Lott,  organist  of  the  church.) 
Haydn  is  generally  regarded  as  the  founder  of  the 
modern  symphony,  and  the  sonata-form ;  but  he  him- 
self has  acknowledged  his  indebtedness  in  these  re- 
spects to  Philipp  Emanuel  Bach,  "  who  first  prepared 
the  way  for  the  brilliant  epoch  of  instrumental  music 
which  began  with  Haydn."  The  latter  may,  neverthe- 
less, be  regarded  as  the  father  of  modern  orchestration. 
48.  (G.)  Wolfgang  Amadeus  Mozart  (1756  — 
1791),  the  son  of  Leopold  Mozart, — himself  an  ex- 
celleut  musician,  and  author  of  a  treatise  on  the  violin 
■ — was  born  at  Salzburg,  Germany.  At  a  very  early  age 
Mozart  gave  surprising  tokens  of  his  musical  genius, 
which  the  father  fostered  and  encouraged  in  every  pos- 
sible way.  At  the  age  of  four  years  he  received  his 
first  lessons  on  the  harpsichord,  and  two  or  three  years 
afterwards  on  the  violin.  It  is  narrated  that  when  he 
was  only  six  years  old  he  made  his  first  crude  attempt 
at  musical  com^iosition — a  concerto  for  the  clavier — 
which  was  not  devoid  of  distinct  musical  idea  and 
expression.  About  this  time  his  father  took  the  boy 
and  his  sitster  Maria — the  latter  eleven  years  old — on  a 
professional  tour  to  Vienna,  where  they  were  received 
with  much  favour,  and  were  invited  to  perform  before 
the  Emperor  and  Empress.  The  following  year  they 
visited  Munich,  Mayence,  and  other  cities  of  Southern 
Germany,  and  thence  proceeded  to  Paris  and  London. 
In  London  they  performed  before  the  King  and  Queen 
(George  III.  and  Charlotte)  at  St.  James's.  Everywhere 
the  little  musicians — more,  probably,  by  reason  of  their 
youth  than  for  their  actual  performances — were  petted 
and  caressed.     In  1765  they  went  to  Holland,  where 


I.  48.1  General  Stimmarit.  33 

young  Mozart  wrote  the  six  sonatas,  for  violin  with  piano- 
forte or  harpsichord  accompaniment,  for  the  Princess 
of  Orange.  Early  in  17G7  Mozart  went  again  to  Vienna, 
where  he  spent  two  or  three  years  in  study  and  compo- 
sition. Here,  besides  writing  two  or  three  small  operas 
and  a  Stahat  Mater,  he  produced  his  first  mass,  on  a 
commission  from  the  Emperor,  in  1768.  In  1770  he 
commenced  a  lengthy  and  eventful  tour  through  Italy, 
receiving  much  praise  and  many  honours  and  keep- 
sakes, but  very  little  pecuniary  reward.  His  opera, 
Mitridate,  was  performed  at  Milan  during  this  tour ; 
but  although  it  had  a  temporary  success,  this  opera 
does  not  deserve  a  legitimate  place  in  any  catalogue  of 
Mozart's  compositions.  His  next  opera,  La  Finta  Giar- 
diniera,  produced  at  Munich  in  1775,  in  many  respects 
shows  a  sensible  advance  upon  previous  work,  but  con- 
tains no  features  worthy  of  special  comment.  His  first 
really  important  opera  is  Idomeneo,  which  was  produced 
at  Munich  in  1781.  This  work,  although  to  a  great 
extent  built  upon  the-  old  Italian  model,  especially  with 
respect  to  the  elaborated  aria,  abounds  in  characteristic 
beauties,  both  in  the  choruse-!  and  in  the  instrumental 
scoring.  Owing  to  the  weakness  of  the  libretto,  and 
its  want  of  dramatic  interest,  it  is  ineligible  for  the 
modern  opera-stage.  Occasional  excerpts,  however,  are 
still  to  be  heard  in  the  concert-room.  Die  Entfiihrung 
aus  dem  Serail,  produced  the  following  year,  exhibits  a 
growing  independence  of  style,  and  more  varied  re- 
sources in  the  illustration  of  the  several  contrasting 
characters.  Le  Nozze  di  Figaro  (1786)  is  too  well 
known  to  be  commented  upon  here ;  we  may,  however, 
note  that  this  is  Mozart's  finest  work  from  the  purely 
dramatic  point  of  view ;  while  Don  Giovanni  (1787) 
excels  in  the  elucidation  of  individual  character. 
Respecting  the  latter  Avork,  a  German  critic  writes : 
"  Mozart's  Don  Giooanni  is,  by  its  marvellous  delinea- 
tion of  both  thrf  lights  and  shadows  of  life,  its  com 
bined  seriousness  and  playfulness,  tragedy  and  comedy 
3 


34  History  of  Music.  [i.  48. 

a  universal,  unique,  and  deeply  significant  work  ;  one 
to  which,  in  the  sister  art  of  drama,  Goethe's  Faust  can 
alone  be  worthily  compared."  The  succeeding  opera, 
Cosi  fan  tutte  (1790),  though  containing  many  inci- 
dental beauties,  is  marred  by  the  childish  and  essen- 
tially inartistic  character  of  the  libretto.  In  1791 
appeared  La  Glemenza  di  Tito, — the  libretto  of  which 
is  identical  with  that  previously  employed  by  Gluck 
and  others — which  was  performed  at  Prague  for  the 
coronation  of  the  Emperor  Leopold  II.  In  this  opera 
Mozart  introduced  (to  the  aria,  Non  piu  di  fori)  an 
ohhligato  for  a  new  instrument,  the  Corno  de  bassetto,  or 
basset-horn,  a  kind  of  low  clarionet,  now  practically 
obsolete.  Two  of  these  "  basset-horns "  are  also  em- 
ployed in  the  Requiem,  of  which  we  shall  have  to 
speak  later  on.  In  many  of  the  details  of  La  Glemenza 
di  Tito  Mozart  had  recourse  to  the  assistance  of  his 
pupil,  Siissmaier,  who,  it  is  said,  wrote  most  of  the 
recitatives  for  this  opera.  Within  a  few  weeks  of  the 
production  of  Tito,  the  Zauherflote  (B  Flauto  Magico) 
was  completed,  and  performed  at  Vienna,  and  was 
repeated  one  hundred  times  during  the  same  and  the 
following  year.  This  Avas  his  last  opera.  Mozart  had 
also  been  active  in  the  production  of  other  works.  He 
had  written  many  masses,  and  several  symphonies,  of 
which  the  finest  are  the  G  minor,  the  E  flat,  and  the 
Ju^nter  Symphony  in  C,  besides  numerous  quartets,  and 
other  chamber  music.  He  had  also  written  a  number 
of  pianoforte  concertos  and  sonatas  (Avhich  latter  are 
seldom  performed  in  public).  His  last  work  was  the 
Requiem  (1791),  the  greater  portion  of  which  he  com- 
posed on  his  death-bed.  There  has  been  much  discus- 
sion among  critics  regarding  the  authenticity  of  three 
important  numbers  in  this  beautiful  work.  It  is 
asserted  by  some  that  the  pupil,  Siissmaier,  who  had 
already  given  Mozart  much  assistance  in  the  preparation 
of  La  Clemenza  di  Tito  and  other  contemporaneous  or 
later   works,    actually   composed   the   greater  part   of 


I.  48,  49,]  General  Summary.  35 

the  Requiem.  If  this  be  the  case,  it  is  surprising  how 
SUssmaier  sustained  the  individuality  of  Mozart 
throughout  the  remainder  of  the  work,  and  it  is  still 
more  astonishing  that,  apart  from  his  connection  with 
Mozart,  so  accomplished  a  writer  should  have  left 
behind  him  no  other  abiding  memorial  of  his  own 
powers.  The  numbers  claimed  by  SUssmaier  as  having 
been  entirely  composed  by  himself  are  the  three  last — 
Sandus,  Benedictus,  and  Agnus  Dei.  JMozart's  won- 
derful skill  in  orchestration  has  been  exemplified  to  us 
not  only  in  his  own  works.  The  originally  thin  scoring 
of  The  Messiah  was  expanded  by  him  in  1789,  and 
since  then  Mozart's  "additional  accompaniments"  have 
invariably  been  adopted  at  the  performances  of  this 
oratorio.  Other  works  of  Handel  were  similarly  re- 
scored  by  Mozart.  As  a  contrapuntist,  also,  Mozart 
takes  high  rank.  The  fugal  movement  (finale)  in  the 
Jupiter  Symphony,  and  that  in  the  overture  to  Zauber- 
flbte,  are  standard  examples  of  the  highest  form  of 
contrapuntal  development. 

49.  (G.)  The  German  contemporaries  of  Haydn  and 
Mozart  are  very  numerous ;  but  we  cannot  do  more 
than  catalogue  the  principal  amoiigst  them,  giving  their 
names,  as  far  as  pos-ible,  in  chronological  order.  J.  G. 
Albrechtsberger  (1736 — 1809)  is  chiefly  known  to 
us  through  the  medium  of  his  elaborate  work  on  har- 
mony, counterpoint,  and  composition ;  but  he  wrote 
as  many  as  twenty-six  masses,  and  numerous  other 
smaller  works,  chiefly  ecclesiastical.  Michael  Haydn 
(1737 — 1806),  a  younger  brother  of  the  great  Haydn, 
was  greatly  esteemed  by  tiie  latter  for  his  sacred  com- 
positions, which  included  masses,  motets,  canticles, 
and  other  liturgical  music.  C.  D.  Dittersdorf  (1739 — 
1799)  produced  thirty-seven  operas,  over  forty  sym- 
phonies, and  a  number  of  other  forgotten  works.  J. 
Andre  (1741 — 1799)  wrote  German  operas.  J.  G. 
Naumann  (1741 — 1801),  composer  of  oratorios,  masses, 
operas,  and  symphonies,  still  survives  in  occasional  ex- 


36  History  of  Music.  [i.  49, 50. 

tracts  from  his  larger  works.  J.  P.  Martini  (1741 — 1816) 
wiote  masses,  a  Requiem,  &\\di  several  French  operas.  J. 
P.  Schulz  (1747—1800^  and  CLNeefe  (1748-1798)^ 
the  latter  a  master  of  Beethoven — were  both  writers  of 
opera.  The  Abb^s  Stadler  (1748—1833)  and  Vogler 
(1749 — 1814)  were  composers  principally  of  Church 
music :  Vogler,  however,  wrote  five  operas,  and,  more- 
over, was  the  author  of  several  treatises  on  the  theory 
of  music.  J.  P.  Beichardt  (1752 — 1817)  wrote  thirty- 
operas  and  some  oratorios.  J.  Pleyel  (1757 — 1831) 
is  a  familiar  name  with  the  pianoforte  student.  Be- 
sides his  sonatas  and  other  pianoforte  compositions,  he 
wrote  a  number  of  larger  instrumental  works,  including 
symphonies  and  quartets.  J.  L.  Dussek  (1761 — 1812) 
takes  a  still  higher  position  in  the  classical  pianoforte 
school.  His  sonatas,  occasionally  heard  in  the  concert- 
rooms  of  the  present  day,  abound  in  originality  and 
artistic  power.  D.  Steibelt  (1764 — 1823)  was  another 
prolific  composer  for  the  pianoforte,  and  among  his 
works  are  t)  be  found  many  excellent  studies.  C.  F. 
Zelter  (1758 — 1832)  wrote  part-songs  and  other  vocal 
compositions,  and  organized  the  Liedertafel,  a  choir  of 
male  voices,  said  to  be  the  first  society  of  the  kind 
formed  in  Germany.  Andreas  Romberg  (1767 — 
1821)  is  best  known  in  this  country  in  connection 
with  the  popular  Lay  of  the  Bell,  a  favourite  work 
with  local  choral  societies.  He  wrote  seven  operas  and 
several  symphonies.  Other  German  composers  and 
teachers  of  the  same  period  are :  Schobert,  J.  H. 
Knecht,  D.  G.  TiJRK,  Peter  von  Winter,  J.  Preindl, 
J.  Weigl,  B.  a.  Weber,  Wenzel  Muller,  and  B. 
EoMBERG,  brother  of  the  Andreas  Eomberg  mentioned 
above. 

50.  (I.)  The  leading  Italian  composers  of  the  latter 
half  of  the  18th  and  the  commencement  of  the  19th 
centuries  were  not  so  numerous  as  those  of  Germany. 
L.  Boccherini  (1740 — 1806)  stands  almost  alone 
in   the   domain    of    purely   orchestral   music.     G.    B. 


1. 50,  51.]  General  Summary.  37 

Viotti  (1753 — 1824),  the  celebrated  violinist,  and 
founder  of  a  new  school  of  violin-playing,  wrote  a 
number  of  concertos,  chiefly  for  his  own  instrument, 
and  with  an  especial  view  to  th^  display  of  his  own 
marvellous  powers  of  execution.  The  only  notable 
composer  of  pianoforte  music  was  Muzio  Clementi 
(1752 — 1832),  whose  Gradus  ad  Parnassura  and 
twelve  Sonatinas  are  likely  to  remain  familiar  subjects 
of  study  for  years  to  come.  Clementi  was  a  prince 
among  teachers,  and  during  his  lengthy  stay  in  Eng- 
land exercised  a  remarkable  influence  upon  the  art  of 
pianolorte-playing  in  this  country.  His  grave  lies 
within  the  precincts  of  Westminster  Abbey,  and  a 
small  tablet  marks  the  spot.  A.  Salieri  (1750 — 1825), 
N.  Zingarelli  (1752—1837),  D.  Cimarosa  (1754— 
1801),  S.  Mayer  (1763—1845),  and  F.  Paer  (1771— 
1839),  were  all  composers  of  oratorios,  masses,  or 
operas,  but -their  works  are  now  nearly  forgotten,  save 
by  a  few  musical  antiquaries. 

51.  (F.)  M.  L.  Cherubini  (1760—1842)  was  a 
native  of  Florence,  but  having  at  the  age  of  26 
settled  in  Paris,  where  he  took  up  his  permanent  abode, 
he  is  properly  classed  by  some  historians  as  belonging 
rather  to  France  than  to  Italy.  A  pupil  of  Sarti,  an 
able  teacher  of  that  time,  Cherubini  made  rapid  pro- 
gress in  the  art,  and  at  the  age  of  22  produced  his 
first  opera,  11  Quinto  Fabio.  To  the  Paris  public  he 
introduced  himself  by  Demoplion,  but  this  work  failed 
to  command  a  positive  success.  In  1791,  however,  he 
completely  won  the  popular  favour  by  the  production 
of  Lodoiska.  Undoubtedly  his  best  opera  is  Les  Deux 
Journees,  which  he  brought  out  in  the  year  1800;  this 
work  is  not  unknown  to  the  stage  of  the  present  day. 
Other  operas  were  Medea,  Eliza,  Anacreon,  Faniska, 
Les  Ahencerages,  and  Alt  Baha.  But  Cherubini's  fame 
rests  not  so  much  on  his  work  for  the  stage  as  that  for 
the  Church.  His  masses,  notably  the  one  in  D  minor, 
are  grand  and  impressive  compositions,  and  for  their 


38  History  of  Music.  [i.  51,  52, 

scholarly  treatment  alone  are  worthy  of  especial  study. 
The  same  may  be  said  of  the  Requiem  in  C  minor, 
written  in  1810.  In  1835,  Cherubini  wrote  a  Requiem 
for  male  voices  only,  for  the  commemorative  service  in 
honour  of  Boielpieu  (1775 — 1834),  one  of  his  own 
pupils,  himself  a  popular  writer  of  opera.  Cherubini's 
well-known  treatise  on  Counterpoint,  Canon,  and  Fuiiue 
establishes  his  position  as  a  master  in  the  art.  The 
work  was  written  in  the  French  language,  and  has  been 
translated  into  English  by  Mr.  Cowden  Clarke.  As  a 
composer,  Cherubini  was  highly  esteemed  by  Beethoven, 
who  pronounced  him  "  the  most  estimable  of  living 
musicians."  An  important  contemporary  of  Cherubmi 
was  E.  H.  Mehul  (17G3 — 1817),  whose  operas  were  at 
one  time  very  popular.  The  principal  of  these  were 
Josejph,  Euijhrosyne,  Stratonice,  and  L'lrato.  Excerpts 
from  Joseph  are  still  occasionally  published  in  France 
and  England,  but  the  work  is  not  now  performed,  except 
in  Germany.  A  single  overture  (Le  Jeune  Henri) 
seems  to  be  the  only  composition  by  Mehul  which  has 
really  survived  this  once  popular  composer.  Among 
other  French  contemporaries  of  Cherubini  we  may  note 
J.  F.  Lesueur  (176-t--1837),  0.  F.  Langle  (1741— 
1807),  and  Pierre  Rode  (1774—1830). 

52.  (G.)  LuDWiG  VAif  Beethovek,  the  greatest  among 
German  composers,  and  the  most  universal  musical 
genius  the  world  has  ever  produced,  was  born  at  Bonn, 
1770,  and  was  the  son  of  a  tenor  in  the  Electoral 
chapel.  The  father,  a  man  given  to  intemperate  habits, 
was,  while  he  lived,  a  source  of  misery  to  his  son,  as 
well  as  to  the  wh'  Je  family,  who  were  kept  in  a  state  of 
poverty  approaching  to  destitution.  Ludwig,  who 
showed  early  signs  of  musical  talent,  was  regarded  by 
his  father  as  a  possible  source  of  enrichment,  and  on 
this  account  was  forced  to  practise  upon  the  pianoforte 
so  many  hours  at  a  stretch  that  his  studies  became  a 
positive  slavery  to  him.  He  received  his  first  lessons 
from  Van  den  Eeden,  the  Court  organist,  but  the  sue- 


1.  52.]  General  Summary.  39 

ceeding  organist,  Neefe,  gave  him  more  methodical 
instruction.  Sucli  was  the  |»rogress  he  made,  that  at 
the  age  of  12  he  occasionally  took  Neefe's  place  at  the 
ohapel  organ;  and  at  the  age  of  13  (1783)  was  en- 
trusted with  the  post  of  cembalist  (pianist) — then  an 
important  position,  in  the  orchestra  attached  to  the 
Court  Theatre.  His  great  ambition,  however,  was  to 
go  to  Vienna  for  the  completion  of  his  studies,  and  in 
1785  he  was  enabled  to  carry  out  this  project.  Arrived 
in  Vienna  he  sought  out  Mozart,  who  at  first,  it  is  said, 
received  him  somewhat  coldly,  but  on  hearing  him  play 
an  improvisation  on  a  given  theme,  Avas  so  astounded 
that  he  said  to  his  friends,  "  Pay  heed  to  this  youth  ; 
he  will  one  day  astonish  the  world."  The  opinion  of 
Mozart,  then  in  the  zenith  of  his  popularity,  did  not, 
however,  have  an  immediate  effect  on  the  fortunes  of 
the  young  musician.  Beethoven  had  already  published 
(1783),  when  in  his  13th  year,  some  small  compo- 
sitions, including  tliree  sonatas,  which  were  dedicated 
to  the  Elector  of  Cologne,  his  patron  at  Bonn.  During 
this  first  sojourn  in  Vienna,  which  lasted  about  two 
years,  he  appears  to  have  given  himself  up  entirely  to 
study.  In  1787  he  was  recalled  to  Bonn,  by  the  death 
of  his  mother,  his  affection  for  whom  was  heightened 
by  the  fact  that  she  was  as  affectionate  and  watchful  as 
his  father  was  harsh  and  neglectful.  He  had  now 
virtually  to  provide  for  the  maintenance  of  his  family, 
and  was  obliged  to  have  recourse  to  teaching,  an  occu- 
pation which  he  always  disliked.  The  only  bright  spot 
in  his  life  at  this  period  was  the  intimate  and  lasting 
friendship  he  formed  with  the  Breuning  family — 
Madame  Breuning  (a  widow),  her  three  sons,  and  a 
daughter.  In  their  society  Beethoven  spent  many 
happy  hours  of  relaxation,  and  in  their  company  made 
his  acquaintance  with  the  classic  literature  of  the  world, 
and  especially  of  his  own  language.  Here,  too  (at 
Bonn),  he  gained  the  friendship  and  assistance  of  the 
Count  "Waldstein,  to  whom  he  dedicated  the  well-known 


40  History  of  Music.  [i.  52. 

sonata  whicli  is  now  identified  with  the  Count's  name. 
To  the  influence  of  Waldstein  is  attributed  the  appoint- 
ment of  Beethoven,  about  this  time,  as  Court  pianist. 
In  1792,  having  been  granted  a  pension  by  the  Elector, 
Beethoven  was  enabled  to  revisit  Vienna,  and  so  left 
Bonn,  never  to  return.  Again  settled  at  Vienna,  and 
this  time  under  more  favourable  circumstances,  Beet- 
hoven placed  himself  under  the  tuition  of  Haydn. 
But,  unhappily,  there  was  no  real  friendsliip  between 
them.  Men  of  temperaments  more  opposite  in  charac- 
ter it  would  be  hard  to  conceive  :  Haydn  was  mild  and 
equable,  Beethoven  was  enthusiastic  and  eccentric. 
Beethoven  thought  he  had  reason  to  complain  of  the 
indifference  and  actual  negligence  of  his  master,  but 
notwithstanding  these  misgivings,  he  continued  to  re- 
ceive lessons  from  Haydn  until  1784,  when  the  latter 
left  Vienna  on  a  visit  to  London.  Beethoven  availed 
himself  of  this  departure  to  attach  himself  to  Albrechts- 
berger,  then  organist  of  the  cathedral,  under  whom  he 
remained  about  fifteen  months,  and  with  Avhom  he  got 
on  little  better  than  with  Haydn.  Nevertheles-=,  there 
is  ample  evidence  that  he  worked  unceasingly  all  this 
time.  (The  result  of  his  studies  is  supposed  to  be 
shown  in  the  work  entitled  Studien  im  Generalbciss, 
published  under  Beethoven's  name,  but  it  has  been 
pretty  clearly  proved  that  only  a  small  proportion  of 
this  book  is  Beethoven's  sole  and  actual  work.)  It 
was  in  the  year  1795  that  Beethoven  commenced  his 
public  career  as  a  composer  and  performer.  At  the 
annual  concert,  for  this  year,  in  aid  of  the  widows  and 
orphans  of  musicians,  Beethoven  produced  the  piano- 
forte concerto  in  C  major,  himself  being  the  pianist. 
This  performance  was  a  sudden  revelation  to  the  Vien- 
nese public,  and  from  this  time  engagements  crowded 
upon  him.  During  the  seven  years  that  followed,  he  pub- 
lished the  thirty-two  sonatas,  three  concertos,  two  sym- 
phonies, nine  trios,  and  numerous  other  smaller  works. 
But  in  1800  the  greatest  calamity  that  could  befall  a 


I.  52.]  General  Summary.  41 

musician  overtook  Beethoven — deafness.  It  is  remark- 
able that  nearly  all,  if  not  all,  liis  nine  symphonies 
were  composed  under  this  affliction.  The  following 
are  their  dates:  First  Symphony,  in  C  major,  1800; 
Second,  in  D  major,  dedicated  to  his  patron.  Prince 
Lichnowsky,  1802;  Third  (the  Eroica),  1803—4; 
Fourth,  in  B  flat  major,  1806  ;  Fifth,  in  C  minor, 
about  1808;  Sixth  {Pastorale),  in  F  major,  about 
1808;  Seventh,  in  A  major,  1812;  Eighth,  in  F 
major,  1812  ;  Ninth  (the  great  Choral  Symphony),  in 
D  minor,  1822 — 3.  The  only  opera  Beethoven  wrote 
was  Leonora,  produced  in  1805,  and  condemned  by  the 
critics.  He  wrote  new  overtures,  making  four  in  all, 
to  the  work  ;  and  under  the  new  title  of  Fidelio,  it  was 
once  more  presented.  This  Avas  in  the  year  1814.  In 
Church  music  Beethoven  was  not  prolific.  His  first 
Mass,  in  C  major,  composed  in  1807;  the  Missa 
Solemnis,  in  D  major,  1818 — 22;  The  Mount  of  Olives, 
a  short  oratorio  (in  which  occurs  the  well-known  Halle- 
Z?y'a/i),  about  1800;  appear  to  be  his  only  sacred  com- 
positions. His  works  have  been  thus  roughly  sum- 
marized by  Czerny : — One  opera,  two  dramas  with 
music,  a  melodrama,  8evt;ral  single  dramatic  choruses 
and  songs,  one  oratorio,  two  masses,  nine  symphonies, 
eleven  overtures,  one  septet,  seven  pianoforte  concertos, 
one  violin  concerto,  two  violin  quintets,  seventeen 
violin  quartets,  five  violin  trios,  thirty-five  solo  sonatas 
for  pianoforte,  ten  sonatas  for  pianoforte  and  violin,  six 
sonatas  for  pianoforte  and  violoncello,  seven  trios  for 
pianoforte,  violin,  and  violoncello,  a  pianoforte  quintet, 
a  great  many  other  pianoforte  compositions,  cantatas, 
songs  with  pianoforte  accompaniments,  &c.  As  a  virtuoso 
on  the  pianoforte,  Beethoven  out-distanced  all  his  rivals, 
including  the  celebrated  Hummel,  who  was  studying 
under  Mozart  at  the  period  of  Beethoven's  first  visit  to 
Vienna.  Beethoven  owed  much  of  his  command  of  or- 
chestral resources  to  his  practical  acquaintance  with  the 
stringed  instruments,  any  of  which  he  was  able  to  play, 


42  History  of  Music.  [i.  52, 53. 

and  to  this  cause  in  a  special  degree  the  beauty  and  finish 
of  his  string  trios,  quartets,  and  quintets,  are  due.  It 
has  been  asserted  that  Beethoven's  horn  parts  are  often 
weak;  some  saying  that  his  want. of  familiarity  with,  that 
instrument  made  him  timid  in  its  employment ;  others, 
that  he  was  apt  to  give  it  impossible  passages.  To 
bi'th  these  accusations  the  horn  part  in  the  Septet  alone 
ought  to  be  a  sufficient  answer,  and  the  Septet  was  a 
comparatively  early  production  (1800).  Notwithstand- 
ing incessant  hard  work,  and  a  career  of  almost  unin- 
terrupted artistic  triumph,  Beethoven's  last  years  were 
haunted  by  a  dread  of  approaching  poverty,  for  which, 
however,  there  was  no  real  cause.  He  died  at  Vienna. 
(1827),  and  was  publiclv  buried  Avith  creat  pomp. 

53.  (G.)  J.  N.  Hummel  (1778—1837)  received  his 
early  lessons  from  Mozart,  and  even  while  a  boy  is  said 
to  have  been  a  wonderful  performer  on  the  pianoforte. 
In  after  years  he  was  considered  a  worthy  rival  of  Beet- 
hoven in  the  art  of  extemporization.  He  principally 
devoted  himself  to  the  pianoforte,  both  as  player  and 
composer.  Schluter  says  of  him :  "  After  the  three 
great  masters,  Hummel  is  the  best  pianoforte  (not 
sonata)  composer;  and,  as  such,  is  the  founder  of  a 
school  which  has  cast  into  the  shade  Dussek,  Steibelt, 
Pleyel,  Wolfl,  and  others."  In  Church  music  his  masses 
take  high  rank  even  now,  and  the  one  in  B  flat  is  fre- 
quently performed.  Hummel  also  very  successfully 
adapted  the  symphonies  of  Haydn  and  Mozart,  and 
some  of  Beethoven's  also,  for  pianoforte,  flute,  violin, 
and  violoncello.  A  Septet,  written  for  pianoforte, 
string  and  wind  instruments,  is  Hummel's  chef  d'oeuvre. 
His  operas — and  he  "vvrote  several — are  now  forgotten. 
S.  Neukomm  (1778 — 1858),  who  -mrote  in  all  depart- 
ments of  composition;  A.  Eeicha  (1770 — 1836), 
author  of  the  well-known  work  on  fugue ;  A. 
DiABELLi  (1781—1858);  C.  Kreutzer  (1782—1849), 
who  composed  twenty-four  operas  and  a  number  of 
masses,  were  among  the  most  esteemed  German  musi- 
cians of  this  time. 


I  64."]  General  Summary.  43 

54.  (G.)  Ludwigr  Spohr  (1784—1859),  a  native  of 
Brunswick,  developed  at  a  very  early  aga  that  remai-k- 
able  talent  for  the  violin  Avhich  placed  him  amongst  the 
most  brilliant  violinists,  of  his  time.  At  the  age  of  14 
he  obtained  the  patronage  of  the  Duke  of  Brunswiclr, 
who  placed  him  in  his  orchestra,  and  subsequently  em 
ployed  Franz  Eck,  an  excellent  player,  to  give  him 
lessons.  Of  his  long  and  successful  career  as  a  per- 
former we  shall  not  now  speak  :  the  D  minor  and  E 
minor  concertos,  both  composed  at  an  early  period, 
bear  sufficient  testimony  to  his  executive  powers,  as 
well  as  to  his  skill  as  a  composer  of  violin  music.  As 
a  writer,  "with  the  exception  of  a  few  lessons  received 
in  his  youth,  it  is  said  that  Spohr  was  entirely  self- 
taught.  This  accounts  for  much  of  the  freedom,  some 
would  say  lawlessness,  which  characterizes  all  Spohr's 
work.  His  first  opera,  Alruna,  had  a  considerable 
local  success,  but  it  is  now  entirely  forgotten.  How- 
ever, the  reception  accorded  to  this  work  encouraged 
"Spohr  to  further  efforts  in  opera,  and  in  1816  Faust 
was  produced  at  Prague.  Spohr's  Faust,  since  eclipsed 
by  Gounod's  immortal  work,  contains  many  fine  points, 
and  should  not  have  been  allowed  to  faU  into  unmerited 
neglect.  Seven  years  later  Jessonda  was  produced  at 
the  Court  Theatre  of  Cassel,  to  which  Spohr  had  been 
appointed  as  director.  These  are  his  two  gieat  operas ; 
Zemire  wad  Azov  had  but  a  fleeting  popularity,  and 
other  operas  were  even  more  short-lived.  Of  his  ora- 
torios. The  Last  Judgment  is  the  best  known  in  this 
country;  Calvary  (1835)  deserves  a  more  frequent 
hearing.  In  1820  Spohr  came  over  to  England  to  con- 
duct one  of  the  Philharmonic  Concerts,  and  under  his 
own  baton  was  produced,  for  the  first  time  and  in 
manuscript,  the  Symphony  in  D  minor.  Tiie  symphony 
entitled  Die  Weihe  der  Tone  (The  Consecration  of  Sound), 
an  ever-present  feature  in  our  orchestral  programmes,  was 
produced  in  1832.  The  Fall  of  Babylon  was  composed 
for  and  produced  at  the  Norwich  Musical  Festival  of 


44  History  of  Music.  [i.  54,  55. 

1842  ;  ill  1843  Spohr  himself  conducted  a  performance 
of  the  work  at  Exeter  Hall,  by  the  Sacred  Harmonic 
Society.  Besides  tlie  works  already  mentioneil,  Spohr 
composed  eight  symphonies,  inchiding  the  Historical 
and  the  Seasons,  a  double  quartet  for  strings,  and  a 
number  of  works  in  which  the  violin  figures  as  the 
principal  instrument.  As  an  example  of  his  skill  in 
part  writing  may  be  mentioned  his  Mass  for  ten  voices, 
composed  for  the  Leipsic  Choral  Society,  but  relin- 
quished by  that  body  as  impracticable.  Spohr,  how- 
ever, successfully  produced  it  at  Cassel,  in  1827.  Spohr's 
choral  music,  although  highly  esteemed  amongst  us,  is 
yet  so  difficult  by  reason  of  the  "  chromatic  "  progres- 
sions in  wliich  he  freely  indulges,  that  few  vocal 
societies  find  the  courage  to  attempt  it  in  public.  His 
instrumental  works  are  in  constant  use  and  request, 
while  his  two  great  vi(din  concertos  are  frequently 
selected  by  modern  virtuosi  as  admirable  vehicles  for 
the  display  of  their  skill  on  the  most  difficult  of  aU 
instruments. 

55.  (G.)  Karl  Maria  von  Weber  (1786—1826),  the 
son  of  a  travelling  actor — once  a  man  of  wealth  and 
good  social  position — had  the  good  fortune  to  be  placed 
under  the  tuition  of  Michael  Haydn  (par.  49).  Of  his 
juvenile  productions — including  two  comic  operas — it 
is  needless  to  speak  :  Weber's  actual  career  as  a  com- 
poser did  not  commence  until  he  had  visited  Vit;nna 
(in  1803),  where  he  studied  for  some  months  under  the 
Abbe  Vogler  (par.  49).  The  following  year  Webei 
was  appointed  to  the  directorship  of  the  opera-house  at 
Ereslau.  Here  he  had  a  narrow  escape  of  being  acci- 
dentally poisoned.  A  succession  of  worldly  reverses 
subsequently  induced  him  to  accept  the  post  of  private 
secretary  to  Prince  Ludwig  of  Wurtemberg.  In  the 
year  1811  he  obtained  the  countenance  of  the  Grand 
Duke  of  Wurtemberg  to  a  new  opera,  Abu  Hassan,  the 
success  of  which  enabled  Weber  to  make  a  professional 
tour  amongst  the  principal  cities  of  Germany.    In  1813 


1.  55.]  General  Suimnary.  45 

he  obtained  the  appointment — a  comparatively  import- 
ant one — of  musical  director  of  the  theatre  at  Prague ; 
for  which  he  composed  several  new  works.  Thence  he 
removed  to  Dresden  (1816)  in  the  capacity  of  Kapell 
Meister  to  the  King  of  Saxony.  Wo  cannot  stay  to 
enumerate  the  many  compositions  (among  them  the 
Jubilee  Cantata  and  the  Mass  in  E  flat)  which  ema- 
nated from  Weber's  pen  at  this  period.  A  new,  and 
the  most  brilliant,  era  of  his  life  was  commenced  with 
the  opera  Der  Freischiitz,  originally  intended  for  the 
Berlin  Theatre.  The  same  year,  1820,  he  completed 
Preciosa,  and  this  work  was  produced  before  its  prede- 
cess(jr.  The  success  of  Preciosa,  marked  as  it  was,  was 
as  nothing  compared  with  that  of  Der  Freischiitz,  the 
fame  of  which  quickly  spread  to  this  country,  and 
occasioned  an  invitation  of  the  composer  to  London,  as 
well  as  the  commission  to  write  Oheron  for  the  Englisfh 
stage.  In  1823  Eiiryanthe  was  produced,  at  Vienna, 
but  the  success  of  the  opera  was  very  transient,  and 
gave  Weber  considerable  di>;appointment.  Acting  on 
the  advice  of  Beethoven,  Weber  subsequently  curtailed 
the  work,  and  thus  obtained  for  it  a  wider  hearing. 
Weber  paid  his  promised  visit  to  London  in  the  year 
1826,  bringing  with  him  his  opera  Oheron,  which  was 
produced  at  Covent  Garden  under  his  own  baton.  An 
internal  disorder  of  long  standing,  aggravated  no  doubt 
by  hard  work  and  continuous  anxiety,  prematurely  ter- 
minated his  life.  He  died  suddenly,  at  the  close  of  his 
engagement  at  Covent  Garden,  and  was  buried  in 
London.  Some  years  afterwards  his  remains  were  re- 
moved to  Germany,  and  were  re-interred  at  Dresden. 
The  great  work  of  Weber's  life  was  the  development  of 
a  distinct  school  of  German  opera.  His  Der  Freischiitz 
and  Euryanthe  must  always  be  regarded — the  period  of 
their  production  duly  considered — as  among  the  most 
important  contributions  to  the  rising  school.  Schltiter 
regards  Wagner's  Lohengrin  as  the  offspring  of  Eury- 
anthe by  "direct  descent."     ^wryajif/ie,  however,  has 


46  History  of  Mumc.  [i.  55, 56. 

long  been  shelved,  owing,  no  doub^,  to  the  weakness  of 
its  libretto  ;  but  Der  Freiscliiltz  enjoys  an  undiminished 
popularity.  It  is  affirmed  by  some  that  it  was  Weber 
who  originated  the  plan  of  including  in  the  opera 
overture  the  leading  airs  from  the  body  of  the  work. 
It  is,  however,  to  be  noticed  that  the  same  feature  exists 
in  the  overture  to  Don  Gioi-anni  (1787),  a  work  which 
dates  many  years  before  Weber's  operas. 

56.  (G.)  Franz  Schubert  (1797—1828)  began  his 
career  as  a  chorister  in  the  Imperial  Chapel  at  Vienna, 
where  he  remained  until  his  16th  year.  Of  his 
juvenile  efforts  at  this  period  we  shall  not  speak ;  we 
should,  however,  make  an  exception  of  the  celebrated 
song  Hagar's  Lament,  which  shows  how  early  his  won- 
derful powers  as  a  song-composer  were  developed. 
When  the  loss  of  his  treble  voice  brought  an  end  to 
his  chorister's  duties,  he  returned  to  his  native  town  in 
the  capacity  of  schoolmaster's  assistant  in  his  father's 
school.  Here  he  composed  a  number  of  works,  includ- 
ing the  Mass  in  F,  which,  slight  as  it  is  in  construction, 
is  a  charming  composition ;  and  well  deserves  the  in- 
creased attention  which  has  of  late  years  been  accorded 
to  it  in  this  country.  The  Masses  in  C  and  G  were 
composed  about  1815  ;  the  same  year  were  produced  an 
enormous  number  of  songs,  including  The  Eii  King, 
highly  prized  by  Goethe.  At  the  age  of  20  Schubert 
left  his  home  to  reside  in  Vienna,  and  subsequently 
entered  the  service  of  Count  Esterhazy  as  music-master 
to  his  children,  where  he  remained  about  two  years. 
After  this  Schubert  never  held  any  definite  appoint- 
ment, but  lived  an  erratic  kind  of  life,  although  he  was 
seldom  out  of  Vienna.  He  once  applied  for  a  post  in 
the  Imperial  Chapel,  but  failed.  He  formed  but  few 
permanent  friendships,  and  did  not  succeed  in  Avinning 
the  regard  of  Beethoven  until  the  latter  was  on  his 
death-bed.  As  a  composer  for  the  t-pera,  Schubert  was 
exceedingly  active  and  uniformly  unsuccessful.     The 


I.  56, 67.]  General  Summary.  47 

music  to  Rosamunde,  originally  produced  at  the  "  An  der 
Wien"  Theatre,  in  1823,  appears  to  be  the  best  example 
of  his  efforts  in  this  class  of  composition.  A  few 
years  ago  the  music  of  Rosavmnde  was  brought  before  a 
London  audience  at  the  Crystal  Palace,  Sydenham,  but 
we  do  not  know  of  any  further  attempt  to  keep  it 
alive.  Next  to  his  marvellous  songs,  Schubert's  piano- 
forte works  are  tlie  most  popular  amongst  his  composi- 
tions. His  sonatas  are,  as  a  rule,  somewhat  erratic  in 
point  of  musical  foiTn,  but  they  are  all  full  of  strong 
connected  interest,  and  exhibit  in  a  remarkable  degree 
the  inexhaustible  fertility  of  Schubert's  mind.  The 
same  may  be  said  of  the  pianoforte  fantasies.  In  the 
domain  of  chamber  music,  his  most  important  com- 
position is,  perhaps,  the  octet  for  stringed  and  wind 
instruments,  occasionally  performed  in  this  country. 
Of  Schubert's  nine  symphonies  undoubtedly  the  finest 
is  the  symphony  in  C,  composed  in  1828,  the  year  of 
his  death.  The  score  of  his  unfinished  symphony  in. 
B  minor  presents  so  many  characteristic  beauties  that 
it  is  a  matter  for  regret  that  he  did  not  complete  the 
work.  Of  his  Church  music,  to  the  works  already 
mentioned  must  be  added  the  Massin  E  Jiat  (composed 
in  1828),  which  is  frequently  performed  in  this  coun- 
try. Schubert  also  wrote  several  cantatas — including 
Miriam's  Battle  Song — melodramas,  marches,  and  other 
occasional  composititins,  but  all  these  save  the  marches 
are  now  nearly  forgotten. 

57.  (G.)  The  name  of  Jacob  Meyerbeer  (1794— 
1864)  is  indissolubly  associated  with  French  Opera, 
but  he  was  a  German  not  only  by  birth  but  by  training, 
and  was  a  fellow-disciple  with  Weber  under  the  Abbe 
Vogler  at  Vienna,  at  which  city  Meyerbeer  was  known 
as  a  brilliant  pianist.  His  early  operas  —  Jephtha's 
Daughter  and  The  Two  Caliphs,  produced  in  Germany, 
and  Romilda,  Semiramide  riconosciuta,  Margherita 
cCAnjou,  and  others,  for  the  Italian  st;age, — were  by  no 
means  so  successful  as  his  later  works  in  Paris.  Robert 


48  History  of  Music.  [i.  57, 58. 

le  Diahle,  produced  at  the  Paris  Grand  Opera  in  1831, 
at  once  established  the  fame  of  its  composer.     Robert 
was  followed  by  Les  Huguenots  (1836) ;  UEtoile  du 
Nord    (originally   in    German),    1854;    Le   Propliete 
(1849)  ;    Le  Pardon  de   Ploermel — better   known   as 
Z>tfto>'a/i  (1859)  ;  and  L'J/r/ca/«e  (1864).     The  greater 
part  of  Meyerbeer's  life  was  spent  in  Paris,  and  Rossini 
was  the  only  composer  who  rivalled  him  in  popularity. 
Among  the  lesser  German  contemporaries  of  Meyerbeer 
we  should   give  the   first  mention   to  J.   Moscheles 
(1794 — 1870),  so  celebrated  for  his  pianoforte  playing 
that  Mendelssohn,  who  was  in  a  position  to  command 
the  best  masters,  availed  himself  of  ^loscheles'  tuition. 
Moscheles  held  for  some  time  the  position  of  professor  of 
the  pianoforte  at  the  Leipsic  conservatorium.     He  com- 
posed, besides  some  symphonies,  a  number  of  concertos, 
sonatas,  and  variations  for  his  especial  instrument,  and 
his  works  still  occupy  occasional  places  in  our  concert- 
programmes.     FERD^^"AND  EiES  (1784 — 1838)  was  a 
pupil  of  Beethoven,   and  excelled  as  a  pianist.      He 
composed  several  pianoforte  concertos  and  sonatas;  also 
two  operas,  besides  quartets  and  other  chamber  music. 
F.   Kalkbrennek  (1784 — 1849)  was  another   accom- 
plished   pianoforte  player,   and  has   left   behind   him 
many  studies  which  are  highly  prized  by  pianoforte 
teachers.      With  one  or  two  notable  exceptions  the 
names   of    P.   E.    Fesca    (1789—1826);     J.    C.    F. 
Schneider  (1786—1858);  H,  J.  Lindpaintner  (1791 — 
1856);     J.    Mayseder    (1789—1863);     B.    Klein 
(1794—1832);  C.  Czerny  (1791—1857),  whose  piano- 
forte studies  are  famihar  to  the  students  of  the  present 
day;  M.  Hauptmann  (1794 — 1868)  well  remembered 
as  the  teacher  of  many  living  musicians  ;  A.  B.  Marx 
(1799—1866);  C.  Eeissiger  (1789—1859)  bring  the 
catalogue  of  German  composers  down  to  our  o\nx  day. 

58.  (G.)  Felix  Mendelssohn-Bartholdy  (1809 — 
1847),  born  iuHambui-g,  was  the  son  of  a  wealthy  banker, 
who  on   discovering  his   child's  precocious  talent  for 


I.  58.]  General  Summary.  49 

music  spared  no  pains  in  fostering  and  developing  it 
both  by  direct  tuition  of  celebrated  professors  and  by 
the  refining  influence  of  the  highest  musical  society. 
Brought  up  in  an  atmosphere  of  musical  culture  from 
infancy,  Mendelssohn  had  opportunities  which  seldom 
fall  to  the  lot  of  a  musical  student,  and  availed  himself 
of  them  to  the  fullest  extent.  On  the  removal  of  the 
family  to  Berlin,  Mendelssohn  received  his  pianoforte 
instruction  from  Berger,  the  principal  pianist  there,  and 
for  composition  was  placed  under  Zelter,  a  pupil  of 
Sebastian  Bach  :  -  this  combined  course  began  when 
Mendelssohn  was  but  eight  years  old.  Under  Zelter 
he  continued  some  years ;  but  at  this  time  his  parents 
had  no  thought  of  Ins  devotinghirast'lf  entirely  to  music 
as  a  profession.  This  was  not  decided  until  the  year 
1825,  when,  on  visiting  and  playing  before  Cherubini, 
in  Paris,  hg  obtained  the  enthusiastic  approbation  of 
that  great  master.  The  first  composition  of  any  im- 
portance was  the  Sijmphony  in  C  minor,  written  in 
1824,  when  Mt^ndelssohn  Avas  but  15.  In  1825,  the 
opera,  The  Wedding  of  CamacJio,  was  produced  at  Ber- 
lin, but  while  it  had  a  hearty  reception  at  the  hands  of 
the  public,  the  Berlin  press  was  hostile  to  the  work. 
Two  years  aft^rAvards  (1827)  came  the  overture  to  the 
Midsummer  Night's  Dream;  and,  in  the  following  year, 
the  descriptive  overture  A  Calm  Sea  and  Prosperous 
Voyage.  To  about  the  same  period  is  attributed  the 
Reformation  Symphony,  introduced  into  England  a  few 
years  back  by  Mr.  Manns  at  the  Crystal  Palace.  The 
year  1829  was  marked  by  Mendelssohn's  first  visit  to 
England,*  he  having  just  completed  his  studies  at  the 
University  of  Berlin.  He  appeared  at  several  London 
concerts,  and  was  warmly  received  on  all  sides.  A 
short  trip  to  Scotland  occasioned  the  overture  entitled 
Fingal's  Gave,  or  The  Hebrides,  produced  on  his  return 

*  Professor  Ritter  (History  of  Music,  p.  394)  gives  1827  as  the 
date  of  this  visit.     The  invitation  (from  Moscheles)  came  in  that 
year,  but  the  journey  was  deferred  until  1829. 
4 


50  History  of  Music.  [i.  58. 

to  Berlin,  in  the  same  year.  In  1830  Mendelssohn, 
proceeded  on  a  tour  through  Italy  and  Switzerland, 
and  while  at  Rome  composed  the  music  to  Tlie  First 
Walpurgis  Night  of  Goethe.  In  1833,  after  having 
failed  to  obtain  the  principal  professorship  at  the 
Berlin  Sing-Academie,  he  was  appointed  "  Municipal 
Music  Director "  at  Dusseldorf,  where  he  commenced 
the  oratorio,  St.  Paul.  From  Dusseldorf  he  was  sum- 
moned to  the  directorship  of  the  Gewandhaus  concerts 
at  Leipsic,  and  while  there  completed  his  St.  Pcml,  the 
first  performance  of  which  took  place  at  the  DUsseldorf 
festival  of  1836.  In  the  autumn  of  the  following  year 
;S/.  Paul  was  produced  at  the  Birmingham  festival, 
under  the  composer's  direction.  The  public  celebration, 
at  Leipsic,  in  1840,  of  the  fourth  centenary  of  the  in- 
vention of  the  art  of  printing,  occasioned  the  produc- 
tion of  the  Festgesang  and  the  sinfonia  cantata,  Lob- 
gesang,  {Hymn  of  Praise).  The  former  cantata  was 
sung  in  the  public  square  at  Leipsic,  on  the  unveiling 
of  the  statue  of  Guttenberg ;  the  Hymn  of  Praise 
■was  performed  in  St.  Thomas's  Church.  (The  recent 
Caxton  Commemoration  Festival,  1877,  was  similarly 
marked  by  a  performance  of  this  work  in  Westminster 
Abbey,  under  the  direction  of  Dr.  Bridge,  the  organist.) 
In  1841  Mendelssohn  accepted  the  appointment  of 
Kapell-meister  to  the  King  of  Prussia,  for  whom  he 
composed,  as  his  inaugural  work,  the  music  to  the  An- 
tigone. The  year  1843  witnessed  the  accomplishment 
of  a  long-cherished  project  of  Mendelssohn's  —  the 
Leipsic  Conservatorium  of  !Music — of  which  he  was  the 
founder  and  first  director.  Among  the  oritjinal  profess- 
ors were  Schumann  and  Hauptmann.  Mendelssohn's 
last  great  work  was  the  Elijah,  which  was  expressly 
composed  for,  and  produced  at,  the  Birmingham  Fes- 
tival of  1846.  An  opera,  Lorelei,  and  an  oratorio, 
Cliristv^,  were  both  left  unfinished.  His  death,  in 
1847,  took  place  at  Leipsic,  and  his  remains  were  con- 
veyed for  interment  to  Berlin,     It  is  needless  to  give  a 


I.  58, 59.]  General  Summary.  61 

full  list  of  his  Avorks,  which  are  well  known  in  this 
country.  The  disciples  of  a  new  school  have  protested 
against  the  general  idolization  of  Mendelssohn  which 
would  place  him  on  a  par  with  Handel  and  Beethoven; 
but,  in  spite  of  all  that  can  be  adduced  against  him, 
Mendelssohn  continues  to  maintain  a  high  position  in 
the  popular  esteem.  Rarely,  if  ever,  is  any  scheme 
of  "  Classical  Concerts,"  whether  of  orchestral  or  of 
chamber-music,  marked  by  an  utter  exclusion  of  works 
from  the  comprehensive  repertory  which  ]\Iendelssohn 
has  left  behind  him.  All  his  compositions — from  his 
symphonies  to  the  charming  Lieder  ohne  tcorte — from 
the  Elijah  to  the  Anthems  for  two  Choirs — breathe  a  life 
and  freshness,  a  sublimity  and  devoutness,  which  more 
than  compensate  for  an  occasional  absence  of  detailed 
and  formal  construction. 

59.  (G.)  Robert  Schumann  (1810—1856),  a  native 
of  Zwickau,  Saxony,  was  educated  at  Leipsic  for  the 
legal  profession,  but  eventually  abandoned  his  studies 
in  favour  of  music.  Under  the  care  of  Wieck  his  re- 
markable powers  as  a  pianist  were  rapidly  developed, 
while  his  theory  studies  were  directed  by  Heinrich 
Dorn.  In  the  year  1834  Schumann  brought  out  the 
Neiie  Zeitschrift  fUr  Miisik,  a  journal  which  still  exists, 
and  in  it  he  published  a  number  of  essays  and  sketches 
on  musical  subjects — all  full  of  literary  power  and  keen 
critical  perception.  So  far,  Schumann  had  confined 
himself  prmcipally  to  compositions  for  the  pianoforte, 
among  which  we  should  mention  the  Sonata  in  F  sharp 
minor,  that  in  G  minor,  and  the  Fantasias ;  and  it  was 
not  until  1841  that  he  attempted  his  first  symphony,  in 
B  flat.  In  1843,  the  Cantata,  Paradise  and  the  Peri, 
a  setting  of  the  story  from  Moore's  Lalla  Rookh,  was 
produced  at  Leipsic,  but  did  not  create  any  very  decided 
impression.  An  opera,  Genevieve,  produced  in  1848, 
also  proved  unsuccessful.  The  same  year  the  music  to 
Manfred,  excerpts  from,  which  are  occasionally  performed 
in  this  country,  was  written.     Schumann's  finest  work 


62  History  of  Music.  [i.  59,  60. 

of  tins  class,  however,  is  his  music  to  Fatist,  a  work  full 
of  beauty  and  power,  which  deserves  to  be  better  known 
and  more  widely  appreciated.  This  was  produced  in 
1850.  In  the  same  year  Schumann  was  appointed 
to  the  Directorship  of  Music  at  Diisseldorf,  but  his 
confirmed  ill-health,  and  the  increasing  symptoms  of 
mental  disorder,  prevented  him  from  undertaking  much 
active  duty,  although  as  a  writer  he  was  still  very  pro- 
lific, producing  his  Symphony  in  E  flat  (1851),  and 
several  fine  works,  including  Tlie  MindreVs  Curse, 
nermann  and  Dorothea,  and  Tlie  Pilgrimage  of  the 
Rose.  But,  in  1854,  insanity  took  complete  possession 
of  him,  and  after  an  ineffectual  attempt  to  droAvn  him- 
self in  the  Rhine,  he  was  conveyed  to  a  private  asylum 
in  the  neighbourhood  of  Bonn,  where,  in  1856,  he 
died.  The  claims  of  Schumann  as  a  composer  were 
almost  unknown  in  this  country  until  his  widow,  the 
gifted  pianist  Clara  Schumann,  by  her  wonderful  play- 
ing of  his  works  for  the  pianoforte,  brought  to  Ught 
her  husband's  exalted  genius,  which  was  too  far  in 
advance  of  his  own  time  to  obtain  the  immediate  recog- 
nition which  his  illustrious  contemporary,  Mendelssohn, 
received. 

60.  Frederic  Chopin  (1810—1849),  a  native  of 
"Warsaw,  spent  by  far  the  greater  portion  of  his  artistic 
life  in  Paris,  and  his  works  are  strongly  tinctured  with 
the  style  of  the  French  School.  His  dance-music, 
especially  his  Polonaises,  based  on  the  form  of  an  old 
national  dance  iti  Poland,  is  remarkable  for  the  under- 
lying melancholy  which  in  fact  more  or  less  charac- 
terizes all  Chopin's  works.  His  Mazourkas,  Studies, 
Nocturnes,  Waltzes,  Galops,  and  Impromptus,  as  well 
as  the  Polonaises,  are  all  familiar  compositions  in  the 
drawing-room,  as  well  as  in  our  concert-rooms.  Chopin 
introduced  several  new  features  in  pianoforte  scoring. 
"  It  is  to  him,"  says  Liszt  in  his  well-known  Life  of 
Chopin,  "  that  we  owe  the  extension  of  chords,  struck 
together  in  arpeggio,  or  en  hatter ie  ;  in  the  chromatic 


I.  60,  61.]  {jfeneral  Summary.  53 

sinuosities  of  which  his  pap;es  offer  such  striking  ex- 
amples ;  the  Uttle  groups  of  superadded  notes  falling 
like  light  drops  of  pearly  dew  upon  the  melodic  figure." 
His  sonatas,  the  first  of  Avhich  contains  The  Funeral 
March,  and  his  concertos  serve  to  exhibit  every  variety 
of  sentiment  and  passion,  in  which,  however,  pathos 
strongly  predominates.  Chopin  died  of  decline  at  an 
early  age  (39),  and  the  March  to  which  we  have  alluded 
was  performed  at  his  funeral. 

61.  (F.)  The  list  of  celebrated  French  composers  of 
the  period  succeeding  our  last  summary  of  this  school 
is  a  brief  one.  Daniel  Auber  (1 782* — 1871)  for  many 
years  director  of  the  Paris  Conservatoire,  devoted  him- 
self principally  to  opera.  His  best  known  works  are 
Fra  Dlavolo,  -Le  Domino  Noir,  and  Masaniello  {La 
Muette  de  Portici).  L.  Herold  (1791—1833)  lives 
through  his  famous  opera,  Zampa  (1830)  ;  other  operas 
wefe  Marie  and  Le  Pre  aitx  Clercs.  Hector  Berlioz 
(1803 — 1869),  whose  intimate  acquaintance  with  every 
possible  resource  of  the  orchestra  led  him  into  the  com- 
position of  works  which  require  the  employment  of 
large  and  abnormally  constituted  bands  to  produce 
them,  was  originally  a  medical  student,  but  afterwards 
went  through  the  music  course  at  the  Conservatoire  of 
Paris.  He  produced  a  large  number  of  works,  chiefly 
orchestral,  of  which  his  symphonies,  Episode  de  la  vie 
d'un  artiste,  Harold  en  Italie,  Romeo  et  Juliette,  and  the 
Fantastique,  are  the  principal.  His  opera  Benvenuto 
Cellini  is  still,  we  believe,  occasionally  performed  in 
France.  Halevy  (1799 — 1862),  besides  his  greatest 
opera,  La  Juive,  so  popular  in  Paris,  wrote  several 
operas,  among  tbem  VEdair,  and  Les  Mousquetaires 
de  la  Peine.  Felicien  David  (1810 — 1876),  whose 
symphony-ode.  The  Desert,  was  revived,  after  long 
neglect,  at  Paris  shortly  after  his  death,  brings  us  to  the 
end  of  the  list  of  completed  careers, 

*  Schliiter  and  some  others  mention  1784  as  the  date  of  Auber's 
birth. 


64  History  of  Music.  [i.  62, 63. 

62.  (I.)  G.Spontini  (1784— 1851)  effected  considera- 
ble improvements  on  the  style  of  Gluck,  to  whom  also 
he,  more  nearly  than  any  other  composer,  approaches  in 
classic  dignity.  Like  Gluck,  Spontini,  after  a  brief 
Italian  career,  settled  in  Paris  (1803),  and  for  the  Paris 
Opera  wrote  his  master-piece,  La  Vestale,  as  well  as  the 
operas,  Ferdinand,  Cortez,  and  Olympie.  Professor 
Eitter,  who,  as  we  think,  mistakenly  fixes  the  date  of 
Spontini's  birth  ten  years  earlier,  thus  writes  of  him : 
"  Animated  by  a  sense  of  heroic  grandeur,  full  of  pathos 
and  passionate  expression,  he  necessarily  gave  to  his 
forms  an  adequate  amplitude  and  vigour  of  style.  Bat 
not  this  quality  alone  characterizes  his  works  :  tender- 
ness of  feeling,  and  sympathy  for  the  softer  chords  of 
human  passion,  are  also  familiar  to  his  pen.  Amidst 
all  the  brilliancy  of  scenic  representations,  he  seldom 
becomes  trivial,  or  degenerates  into  mere  superficial 
effect.  His  effects  are  always  sustained  by  noble 
dramatic  meaning.  His  orchestral  accompaniments 
and  illustrations  are  vigorous,  sonorous,  and  brilliant, 
according  to  the  requirements  of  the  scenic  situation." 
All  this  is  amply  proved  on  a  mere  glance  at  the  score 
of  his  Vestale,  which  ought  to  find  an  English  publisher, 
and  a  place  in  every  musician's  library. 

63.  (I.)  Gioachino  Rossini  (1792 — 1868),  a  native 
of  Pezaro,  in  Italy,  early  distinguished  himself  at  the 
school  of  music  at  Bologna,  where  he  studied  composi- 
tion under  Johann  Martini.  While  yet  a  boy,  he  wrote 
seveial  operas  for  the  provincial  theatres,  and  at  the 
age  of  21  produced  Tancredi  at  Venice.  In  1816 
Eossini  went  to  Rome,  and  produced,  at  the  Carnival 
of  that  year,  the  Barhiere  di  Siviglia  and  another  opera. 
Otello  was  performed  at  Naples  shortly  afterwards,  and 
at  Eome  La  Cenerentola,  while  at  Milan  La  Gazza 
Ladra  found  immediate  favour.  All  these  works  were 
written  in  the  same  year — 1816.  Mose  in  Egitto  (in 
which  the  celebrated  prayer.  To  Thee,  great  Lord — Dal 
tuo  stellato  Soglio — ^was  inserted  as  an  afterthought),  was 


I.  63,  64.]  General  Summary.  55 

produced  in  1818,  and  La  Donna  dul  Lago  in  the  year 
following.  In  1823  took  place  the  first  performance  of 
Semir amide,  at  Venice.  After  a  short  and  successful 
visit  to  London,  Rossini  went  to  Paris,  where  he  re- 
mained for  the  rest  of  his  life.  The  only  opera  of  note 
composed  for  the  Parisians  was  the  fine  work  Guglielmo 
Tell,  which  appeared  in  1829.  After  this  date  no  other 
compositions,  except  the  Stahat  Mater  and  the  post- 
humous Masse  Solennelle,  appeared  from  his  pen.  The 
most  prominent  among  liossini's  Italian  contemporaries 
were:  V.  Bellini  (^1802—1835),  whose  Norma,  La 
Sonnambula,  and  I  Puritani,  are  his  only  lasting 
operas;  G.  Donizetti  (1797 — 1848),  the  composer  of 
Lucrezia  Borgia,  Lucia  di  Lammermoor,  La  Favorita, 
Don,  Pasquale,  LEUsire  d' Amove,  La  Fille  du  Regi- 
ment, and  other  favourite  op?ras ;  S.  Mercadantb 
(1797  _  1870),  and  M.  Carafa  (1785  —  1872)  both 
truthfully  desciibed  as  "  weak  imitators  of  Rossini." 

64.  (E.)  Samuel  Wesley  (1766—1837)  was  a  son 
of  the  Rev.  Charles  Wesley,  the  great  hymn- writer. 
Samuel  Wesley  is  said  to  have  attempted  composition 
even  in  childhood;  at  the  age  of  six  years  he  Avrote  an 
oratorio,  Ruth — a  mere  childish  production,  as  might 
have  been  expected,  but  still  showing  signs  of  unusual 
musical  taste  and  ability.  Wesley's  anthems  are  among 
the  finest  of  his  time.  They  must  not,  however,  be 
confounded  with  those  of  Samuel  Sebastian  Wesley 
(1810 — 1876),  his  son,  whose  Blessed  he  the  God  and 
Father,  and  The  Wilderness,  and  other  anthems  and 
Church  Music,  stamp  him  as  one  of  the  greatest  Church 
writers  of  the  age.  William  Crotch  (1775 — 1847) 
was  another  in  whom  genius  was  early  discovered  and 
developed.  He  has  left  behind  him  the  oratorios. 
The  Captivity,  and  Palestine,  and  a  number  of 
anthems,  services,  glees,  and  a  work  on  Harmony, 
Hid  grand  motett,  Methinks  I  hear  the  full  Celestial 
Choir,  is  frequently  performed,  and  may  be  cited  as  an 
exquisite  specimen  of  vocal  writing  in  five  parts.     For 


56  History  of  Music.  [i.  64, 65. 

some  years  Dr.  Crotch  filled  the  Chair  of  Music  at  the 
University  of  Oxford.  Thomas  Attwood  (1767—1838) 
was  a  pupil  of  jMozart,  under  whose  careful  training  he 
acquired  that  sweetness  of  style  and  clearness  of  diction 
for  Avhich  his  writings  are  noted.  He  composed  a 
number  of  anthems — of  which  Come,  Holy  Ghost  is  the 
most  popular — and  several  operas,  now  unknown.  J. 
B.  Cramer  (1771 — 1858)  was  a  leading  pianist  and 
teacher,  and  composed  upwards  of  100  pianoforte 
sonatas,  "seven  concertos,  numerous  studies,  and  the 
well-known  instruction  book.  John  Field  (1782 — • 
1837),  a  pupil  of  Clementi,  was  another  accomplished 
pianoforte  player  and  composer,  whose  nocturnes  are 
ever  favourite  compositions.  Sir  H.  R.  Bishop  (1782 — 
1855)  was  a  prolific  composer  of  almost  every  kind  of 
music,  but  excelled  in  the  part-song  and  glee.  He 
wrote  many  pojjular  ojDeras  in  English,  and  from  these 
many  of  his  best-known  songs  and  choruses  are  taken. 
V.  Wallace  (1814  — 1865)  survives  in  his  operas, 
Maritana,  Lurline,  &c.  M.  W.  Balfe  (1808—1870), 
an  Irishman  by  birth,  but  an  Italian  by  training,  com- 
posed principally  for  the  stage.  His  operas,  The  Bo- 
hemian Girl,  and  The  Talisman,  a  posthumous  work, 
are  at  the  present  moment  the  most  prominent  of 
Balfe's  productions.  Sir  William  Sterndale  Bennett 
(1816 — 1875),  one  of  the  most  gifted  of  English  cum- 
posers,  was  not  a  prolific  writer,  but  everything  he  has 
left  us  is  of  the  highest  merit.  His  two  cantatas,  2'he 
May-Queen  and  The  Woman  of  Samaria,  are  beautiful 
works  of  their  kind.  Of  his  orchestral  works,  the 
Symphony  in  G  minor,  the  concert  overtures.  The  Wood 
Nymph,  Paradise  and  the  Peri,  and  the  pianoforte 
concertos,  are  among  the  best.  Cipriani  Potter,  a  former 
principal  of  the  Royal  Academy  of  Music,  is  still  remem- 
bered as  a  skilful  teacher  and  an  accomplished  writer. 

65.  (E.)  The  more  prominent  among  the  composi-rs 
of  our  own  dij  shall  now  be  briefly  noticed.  Sir  John 
Goss  (&.  1800),  sometime  organist  of  St.  Paul's  Cathe- 


I.  65.]  General  Summary.  57 

dral,  was  in  boyhood  a  chorister  of  the  Chapel  Royal, 
and  afterwards  became  a  pupil  of  Attwood,  at  St.  Paul's. 
He  has  composed  a  large  number  of  works,  chiefly 
sacred.  Among  his  anthems  the  best  known  are,  If  we 
believe  that  Jesus  died  (composed  for  the  funeral  of  the 
Duke  of  Wellington),  Praise  the  Lord,  0  give  thanks, 
0  Saviour  of  the  World,  Stand  up  and  bless  the  Lord 
your  God,  and  0  taste  and  see  how  gracious  the  Lord 
is.  His  secular  works  include  Ossian's  Hymn  to  the 
Sun,  IViere  is  beauty  on  the  Mountain,  The  Sycamore 
Shade,  Sfc.  Sir  John  Goss  was  formerly  a  Professor  in 
the  Royal  Academy  of  Music,  and  his  work  on  Har- 
Tnony  and  Thorough-bass  is  a  well-known  and  widely 
popular  text-book.  Sir  Julius  Benedict  {b.  1804), 
composer  of  The  Lily  of  Killarney  and  other  operas, 
and  of  the  oratorio,  St.  Peter,  is  a  native  of  Stuttgart, 
Germany,  but  has  been  resident  in.  England  for 
many  years.  Sir  Michael  Costa  (b.  1810)  com- 
poser of  the  popular  oratorio,  Eli,  and  of  Naaman, 
has  also  written  several  operas,  among  which  may  be 
mentioned  Malvina  and  Don  Carlos.  He  is  the  con- 
ductor of  Her  Majesty's  Opera,  and  of  the  Sacred  Har- 
monic Society.  G.  A.  Macfarren  {b.  1813),  Professor 
of  Music,  in  the  University  of  Cambriilge,  and  Principal 
of  the  Royal  Academy  of  Music,  has  written  an  immense 
number  of  works,  chiefly  vocal,  among  them  the  two 
oratorios,  St.  John  the  Baptist  and  The  Resurrection. 
Edward  J.  Hopkins  {b.  1818),  organist  of  the  Temple 
Church,  London,  ranks  with  the  best  Church  writers  of 
the  present  day.  His  Services  in  F  and  A,  his  anthems 
and  hymn-tunes,  are  deservedly  esteemed,  and  will  have 
a  permanent  place  in  the  music-literature  of  the  Church. 
The  Rev.  Sir  F.  A.  Gore  Ouseley,  Bart.  (b.  1825),  Pro- 
fessor of  Music  in  the  University  of  Oxford,  is  the 
composer  of  thfe  oratorios  St.  Polycarp  and  Hagar, 
and  of  several  fine  anthems,  of  which  It  came  even  to 
pass  is  perhaps  one  of  the  best.  Sir  Frederick  Ouseley 
has  written  treatises  on  Harmony,  on   Counterpoint, 


68  Hktory  of  Music.  [i.  65 — 67. 

Canon,  and  Fugue,  and  on  Musical  Form.  Other 
eminent  English  musicians  are  :  Sir  R.  P.  Stewart, 
Professor  of  Music  in  the  University  of  Dublin,  com- 
poser of  Church  music,  cantatas,  and  instrumental 
works ;  Dr.  Steggall,  organist  of  Lincoln's  Inn,  whose 
anthems  and  services  are  justly  esteemed  as  among  the 
best  of  the  day ;  F.  H.  Cowen,  composer  of  the  Rose 
Maiden,  the  Corsair,  dramatic  cantatas;  also  of  Pauline, 
an  opera,  and  Tlie  Deluge,  an  oratorio ;  A.  Sullivan, 
composer  of  Tlie  Prodigal  Son,  The  Light  of  the 
World,  &c. ;  Berthold  Tours,  who  has  written  some 
fine  anthems  and  Church  Services,  besides  numerous 
songs;  Joseph.  Bamby,  author  of  many  popular  anthems 
and  services  ;  John  Barnett,  whose  Mountain  Sylph 
is  a  favourite  composition;  J.  F.  Barnett,  composer  of 
The  Ancient  Mariner,  &c.  ;  J.  L.  Hatton,  author  of 
Hezekiah,  (an  oratorio),  and  several  anthems,  songs,  and 
part-songs,  &c.,  &c. 

66.  (F.)  Charles  Gottnod  {h.  1818)  stands  at  the 
head  of  French  composers  at  the  present  day.  He  has 
written  some  fine  sacred  works  (Alesse  Solennelle,  Messe 
du  Sucre  Cceur,  &c.),  but  his  fame  will  rest  chiefly  upon 
his  operas,  of  which  Faust  is  his  chefd'ceuvre.  Amongst 
other  leading  French  composers  are  Ambroise  Thomas, 
director  of  the  Paris  Conservatoire,  author  of  Migtion, 
Hamlet,  and  other  operas  ;  Flotow  (author  of  Maria)  ; 
Jacques  Offenbach,  composer  of  many  comic  operas, 
including  La  Grande  Duchesse,  Barhe  Bleu,  &c. ;  and 
Herve,  another  writer  of  Opera  Comique,  whose 
Chilperic  has  had  a  world-wide  but  ephemeral  popu- 
larity. Among  other  living  French  musicians  may  be 
mentioned  Masse,  Massenet,  C.  Saint-Saens,  Lecocq, 
and  GuiLMAXT. 

67.  (I.)  Giuseppe  Verdi  {b.  1814)  now  stands  al- 
most without  a  contemporary  of  any  importance  among 
Italians  His  operas  are  very  numerous,  the  most 
popular  among  them  being  Eimani,  Rigoletto,  II  Trova- 


I.  67 — 69.]  General  Summary,  69 

tore,  La  Traoiata,  Un  Ballo  in  Maschera,  and  A'ida. 
His  Requiem,  notwithstanding  a  frequent  disregard  of 
many  important  canons  of  contrapuntal  writing,  is  a 
grand  and  impressive  work. 

68.  Niels  W.  Gade  {b.  1817),  a  native  of  Copenhagen, 
one  of  the  most  distinguished  of  living  composers,  is 
chiefly  known  through  his  Erlkhig's  Daughter  and 
other  cantatas,  but  he  has  also  written  some  splendid 
symphonies  and  other  orchestral  works,  as  well  as 
chamber-music  and  songs.  Anton  Rubinstein,  a 
native  of  Russia,  better  known  as  a  pianist  of  the  first 
rank,  has  also  written  concertos  and  other  orchestral 
pieces,  of  which  latter  his  recent  Ocean  Symplwny  is 
the  most  remarkable. 

69.  (G.)  RicHAUD  Wagner  {h.  1813),  whose  art- 
theories  have  for  many  years  been  the  subject  of  a  great 
deal  of  bitter  controversy  amongst  musicians,  has  en- 
deavoured to  revolutionize  the  whole  system  of  opera, 
and  to  overturn  all  previous  notions  of  musical  form. 
His  earlier  operas,  Rienzi,  and  Das  Liehesverbot,  are 
framed  upon  the  old  models ;  but  he  forsook  these  in 
his  Fliegende  Hollander  and  Tannhduser,  and  even  these 
he  considers  as  far  beneath  the  ideal  form  of  opera. 
Lohengrin  may  be  regarded  as  a  more  decided  advance 
upon  Tannhduser ;  but  Tristan  and  Isolde  and  the 
Meistersinger  are  the  first  works  which  embody  the  full 
realization  of  Wagner's  views.  His  greatest  contribution 
to  the  "  music  of  the  future  "  is  the  well-known  opera- 
series,  Der  Ring  der  Nibelungen.  This  fourfold  work 
consists  of  Das  Rheingold,  Die  Walkiire,  Siegfried, 
and  Gotterddramerung,  and  the  whole  series  was  per- 
formed at  a  great  public  festival,  in  1876,  at  Bayreuth, 
Germany,  in  a  theatre  especially  constructed  for  that 
purpose.  A  selection  from  this  tetralogy  was  per- 
formed in  London,  at  the  Royal  Albert  Hall,  1877, 
under  the  composer's  personal  direction.  Franz  Liszt 
(6.  1811),  a  native  of  Hungary,  is  one  of  the  greatest 


60  History  of  Music.  [i.  69,  7o. 

of  living  virtuosi  on  the  pianoforte,  for  Avhicli  he  has 
"written  concertos,  and  numberless  smaller  studies  and 
transcriptions,  besides  cantatas  and  symphonies.  Liszt 
is  a  strong  advocate  of  the  Wagner  theories,  to  which 
we  shall  refer  more  particularly  in  a  later  section  of  this 
work.  Johannes  Brahms  {b.  1833),  whose  Song  of 
Destiny  and  Requiem  are  becoming  familiar  works  in 
this  country,  has  also  proved  his  reiuarkable  genius  in 
the  symphony  and  other  important  forms  of  composi- 
tion. J.  Raff,  J.  Joachim  {b.  1831),  Ernst  Pauer,  are 
all  distinguished  composers,  amongst  many  others,  in 
their  respective  styles. 

70,  We  have  now  come  to  the  conclusion  of  our 
general  summary,  which  from  the  nature  of  our 
subject  can  be  little  more  than  biographical.  Our  suc- 
ceeding section  will  consist  of  a  series  of  tables  of 
musicians  and  events ;  after  which  we  shall  proceed  to 
trace,  with  the  help  afforded  by  the  present  section,  the 
history  of  the  art  itself. 


61 

SECXrON"    IT.  —  CHRONOMETRICAL    TABLES 

OF  MUSICIANS  AND  MUSICAL  EVENTS. 


EXPLANATION. 

1.  Each  page  contains  a  "  square,"  divided  into  ten 
parts.  The  squares  on  opposite  pages  are  duplicates,  i.e. 
they  represent  the  same  period  of  time  ;  the  left  hand 
page  indicating  events,  discoveries,  &c.,  the  rigid  hand 
page  containing  the  names  of  musicians.  From  the 
time  of  Alfred  the  Great  (870)  and  onward,  the  reigns 
of  the  Engh'sh  Sovereigns  are  given  in  the  respective 
intervals  of  their  accession,  in  order  the  more  clearly  to 
localize  the  musical  events  in  the  mind  of  the  student. 

2.  Tha  first  square  (right  and  left)  includes  the  dates 
A.D.  to  A.D.  999.  Each  succeeding  square  represents 
100  years. 

3.  Table  No.  I.  contains  ten  spaces  of  100  years  each ; 
these  again  are  subdivided  into  ten  spaces  of  ten  j^ears 
each.  Table  No.  II.  (and  each  succeeding  table)  con- 
tains ten  spaces  of  ten  years  each,  each  space  of  ten  years 
being  afterwards  subdivided  into  ten  spaces  of  one  year 
each.  These  spaces  are  so  arranged  that  each  terminal 
number  of  a  date  has  a  fixed  position  in  the  squares  : 
thus,  the  date  "  xxxO  "  is  always  assigned  to  the  "  band  " 
at  the  top  of  the  square  ;  the  date  ^^  xxxb  "  is  always 
to  be  found  in  the  centre  square,  and  so  on. 

4.  The  sign  *  prefixed  to  a  name  or  event  denotes 
that  the  date  is  uncertain  or  approximate. 

5.  It  will  be  well  for  the  student  to  exercise  himself 
in  the  identification  of  dati'S  and  squares,  by  the  use  of 
the  figures,  0,  1,  2,  3,  4,  5,  6,  7,  8,  9,  before  systematic- 
ally employing  the  tables  in  conjunction  with  the  text. 

Example.  To  find  the  year  1555: — 5  is  invariably 
the  centre  figure.  Turning  to  Table  VII.  (1500 — 99) 
we  see  that  1550  is  the  centre  square  of  ten  years,  and 
1555  the  centre  of  that  square.  A  few  experiments  of 
this  kind  will  easily  familiarize  the  student  with  the 
plan  of  these  tables. 

( 


62 


IL 


TABLE  L— A.D.     TO  999. 

MUSICAL  EPOCHS  AND  EVENTS. 


^^^ 

a 

C3 

"^ 

13         2 

bo 

a 

;:    § 

O 

1 

g    A 

■0      . 

a. 

1    ^ 

^ai 

It 

•=!<=>      S»o 

sfe 

^3 

Silvester's  Muf 
Rome,  33 

mbrose  arrang 
Modes,  39 

11 

II 

s  a 

g 

1      3 

o 

s 

CO 

eo 

s         » 

§ 

.g 

13 
o 

1  i 

^<=> 

J  .a 

S  aj  « 

"OS 

lis 

7^  o  bo 

^ 

Ti 

a 

a    -4 

u 

O 

p. 

o 

< 

o 

o 

o 

M 

•M 

a   1 

"ha 

So 

o-g 

c  g 

03 

°o^ 

p 

"sIt 

Pi 

< 

o 

iff 

1 

•J 

"Sa 

p 

< 

o 

f_ 

§     *  - 

II.1 


63 

TABLE  I.— A.D.  TO  999. 

MUSICIANS. 


o 

'< 

—30 
ore  d. 

—60 
—90 

—30 
-60 

—90 

1 

» 

t!m 

3 

,o 

I 

1 

> 

*«.«■ 

^ 

1 

7^3 

»2 

3 

1 

1 

cc 

^  " 

* 

w           I 

c» 

o        o 

o 

o 

9 

!^ 

o            o          1 

g 

T 

T    T 

T 

t 

30 
1 

T 

1 

i 

i 

1 

e 

^^ 

•§ 
^ 

>d<o 

O        1 

T 

o 

o 

o 

O               1.^ 

o       o          ,Oi«:kj  1 

7 

M 

7 

7 

T 

7      1 

7 

t:si 

s-s 

1 

1 

r. 

13 

o 

[ 

^^^ 

^^^—,  ^ 

u-ioo 

O 

o        o          1 

o 

o 

o 

o 

o 

o 

T 

1 

T 

T 

CO 

1 

t 

bo 

T 

T 

1 

g 

O 

s 

1 

o 

"o 

o 

o 

o 

o 

O         lO                lO 

I 

1" 

*? 

T 

T 

1 

T 

'l 

o 
1 

oo 
I 

— 

1 

1 

1 

1 

1 

1 

1 

1 

! 

o 

2      1<=          1 

o 

o 

o 

o  .^ 

o 

o 

7 

1 

1 

7 

7 

7.2  ■« 

.s 

1 

'l 

§  3 

•  ^3 

3 

i> 

1 

'^ 

o 

o 

o 

o 

o 

o 

o 

o 

o 

CO 

1 

1 

1 

T 

T 

T 

CO 

1 

1 

T 

o 

1 

o 

o 

^ 

o 

o 

^ 

O         lO 

o 

"? 

>o 

"? 

"? 

T 

1 

1 

1 

T 

T 

1 

1 

i 

O 

1 

\ 

1 

7 

___ 

o 

7 

! 

1 

7 

1 

o     . 

"1 

3 

O         1  O                1 W 

Q 

7 

7 

T 

<ii 

1 

^ 

1             1 

^^ 

sq 

64 
TABLE  IL— A.D.  1000  to  1099. 

MUSICAL  EPOCHS  AND  EVENTS. 


[n. 


o 
o 
o 


e  ^ 
.2  a 

.2  "3 

in  O 


■§ 

3^ 


E^ 


n.] 


65 


TABLE  n.— A.D.  1000  TO  1099. 

MUSICIANS. 


""" 

^ 

« 

•o 

o» 

to 

Ol 

CO 

<o^ 

»^ 

CO 

to 

§  ^■ 

o 

Oi 

o 

o 

o 

o 

o 

§ 

o 

IS  o 

"a 
o 

2. 

e« 

o 

J-, 

C4 

»o 

00 

d 

>n 

00 

tS" 

CO 

ro 

CO 

8 

CO 

•o 

o» 

o> 

00 

o 

o 

o 

o 

o 

o 

o 

O 

rH 

O 

if 

i 

1 

1 

bo 

1 

.9 

1 

o 

S5 

o 

1 

to 
o 

O                lO 

i 

i 

§ 

1 

r-l 

r-4 

rH 

f-4 

■§ 

^ 

§ 

1 

CO 

to 

Oi 

--, 

O              lOi 

« 

to 

OS 

-§■ 

CJ 

c> 

o 

o 

ss 

00 

o 

o 

o 

o 

o 

O 

o 

o 

-a 

r-( 

rH 

-S 

o 

1 

i 

9i 

©i 

o 

00 

C^ 

»o 

00 

c^ 

o 

S 

■Q 

(M 

O 

o 

uO 

00 

00 

o 

o 

O 

o 

o 

o 

o 

rH 



1 

i 

i 

H* 

H 

o 

1 

o 

,^ 

■* 

^^ 

,_, 

-*»<           ll^ 

,^ 

^ 

"t^ 

"3) 

0^ 

»0 

wo 

00 

oo  ^ 

s 

o 

o 

o 

T3 

o 

o 

o 

o 

o*5 

t-i 

■3 

o 

'3 

,4 

CO 

o 

o 

1 

1 

«o 

to 

<3> 

""^ 

m 

«o 

o> 

eo 

to 

<3> 

is 

•^ 

1- 

l~ 

o 

o 

"1. 

o 

r^ 

o 

o 

o 

■^ 

•^ 

.5 

i 

^3 

1 
1 

04 

o 

CO 

Cl 

« 

00 

(N 

lO 

00 

•0 

-* 

t^ 

>- 

P- 

I 

o 

o 

o 

»<  o 

O 

o 

o 

o 

o 

•"^ 

■"* 

•"^ 

Q 

r-l 

»"< 

1 

rH 

o 

o 

r-i 

I"" 

4) 

f-( 

Q 

— 

s 
s 

5 

;i: 

:z 

^ 

^ 

5 

t^ 

.t 

^- 

a 

o 

o 

i  s 

o 

o 

o 

o 

1 

o 

*"* 

•^ 

'^ 

*~* 

'^ 

•"• 

1 

o 

■? 

n 

o 

1 

jsi 

r-t 

^^ 

fe) 

^ 

G6 


[n. 


TABLE  ni.— A.D.  1100  TO  1199. 

MUSICAL  EPOCHS  AND  EVENTS. 


1 

s 

r4 

^~* 

rt 

"^ 

& 

a 

S  ^• 

0 

<o  >. 

s 
1 

o 
a 

C3  O 

a 

z-^ 

2 

1  1 

Pi 

Bja 

■3 

|1 

a 

B 

s 

g 

g 

s 

Cm 

O 

l~* 

r^ 

"^ 

"o 

> 

TJ 

^ 

1 

TJ 

fl 

« 

3 

bo 

•E 

O 

O 

o 

O 

O 

o 

y^ 

-* 

r* 

iH 

"^ 

■^ 

"^ 

n.J 


Q7 


TABLE  III.— A.D.  1100  TO  1199. 

MUSICIANS. 


T 

T 

T 

CO 

1 

T 

1 

CO 

1 

to 

1 

7 

1 

s 

00 

1 

T.T 

7 

7 

T 

7 

1- 

00 

1 

1 

§ 

J 

s 

s 

§• 

r-t 

1 

to 

7 

T 

1--. 

1 

7 

T 

1 

7 

7 

7 

<e 

M 

«    <, 

"« 

■a 

<» 

CO 

'O 

»  . 

1 

1 

1 

1 

1 

1 

1 

1 

1 """ 

'■« 

J 

1 

«! 

T 

t 

00 

1 

1 

1 

00 

1 

1 

7 

00 

1 



1 

a 

s 

T 

^ 

•«• 

J^ 

-r 

Tt: 

^ 

1" 

t^ 

1 

1 

1 

1 

1 

1 

1 

1 

e> 

s 

1 

tS 

05 

<D    Oi 

CO 

« 

o> 



1 

J 

1 

1 

1 

1 

1 

IN 

1 

1 

1 

(M 

>a 

00 

00 

o 

1 

1 

1 

s 

1 

1 

1 

? 

1 

1 

1 

1 

•H 

fl 

I-t 

7 

1' 

1 

T  "" 

1 

1 

1 

OT 

1 

1 

O  -' 

r-l   c 

68 
TABLE  IV.— A.D.  1200  to  1299. 

MUSICAL  EPOCHS  AND  EVENTS. 


[n. 


I 


e-8 


K 


o 

h 


e  cs 


fea 


§.3 


t 


IT.] 


69 


TABLE  IV.— A.D.  1200  to  1299. 

MUSICIANS. 


1 

CO 

1 

to 

1 

o> 

1 

T 

T 

0-. 

1 

CO 

7 

1 

T 

T 

1 

T 

1 

7 

T 

7 

1 

7 

S 

s 

S»5 

3 

9 

a^ 

T 

7 

7 

7 

7 

7 

1 

7 

•>* 
1 

*r 

^ 

-a 

< 

to 

1 

» 

T 

T 

1 

CO 

1 

T 

T 

1 

7 

7 

1 

o 

T 

1 

7 

1 

1 

7 

7 

1 

1 

gft 

s 

s 

2  = 

2 

a 

T 

"3 
8 

7 

1 

7 

1-1 

1 

7 

7 

7 

7 

7 

1 

* 

m 

CO 

T 

» 

— 

to 

o> 

1 

1 

1 

1 

1 

1 

1  '-^ 

1 

1 

tt! 

C4 

la 

<» 

«? 



1 

1 

1 

1 

1 

1^ 

1 

1 

e 

a 

Q 

e< 

N 

Jj 

1 

1 

d 
In 

i 

1 

7 

,_( 

7 

1 

7 

7 

1 

1 

o 

O 

o 

^ 

1-t 

• 

70 


[n. 


TABLE  Y.— A.D.  1300  to  1399. 

MUSICAL  EPOCHS  AND  EVENTS. 


73 

o 

-^ 

TS 

•a 

1 

©     * 

2 

J3§ 

*2 

_2  o 

a  3 

£S 

•Sj 

»-3 

IS. 

n 

(ai-5 

O  o 

•O 

Sf 

1 

o 

a- 

1 

<o 

2 

« 

CO 

3 

S 

1 

^ 

s 

^ 

^ 

1^ 

1 

•a 

"2 

^.■a 

U 

a.  g" 

m 

•rtJS 

i 

i 

a 

o 

S 

S 

* 

CO 

to 

a 

CO 

5 

3 

"o 

n 

o 

"3. 

•g 

Pt 

1 

• 

O 

O 

o 

a 

e 

2 

» 

f 

& 

»H 

!-•                                                                           |l-« 

n.] 


n 


TABLE  v.— A.D.  1300  to  1399. 

MUSICIANS. 


T 

a  IS 
55  73 

CO 

1 

1 

1 

CO 

1 

to 

1 

1 

« 

1 

1 

1 

00 

1 

1 

1 

CO 

1 

1 

T 

T 

00 

1 

i 

1 

•a 
1 

7 

si 

1 

1 

• 

7 

T 

t^ 

7 

T 

1 

7 

7 

7 

T 

T 

t 

T 

1 

1 

T 

to 

1 

•3> 
1 

1 

« 

o 

00 

IM 

>o 

00 

« 

ta 

00 

1 

1 

1 

1 

1 

1 

pO 

1 

1 

T 

- 

s 

09 

II 

7 

1 

i5 

7 

7 

7 

7 

7 

1 

T 

•8 

1 

2 
1 

!0 

7 

7 

T 

T 

1 

CO 

1 

to 

1 

1 

o 

7 

o 

00 

t 

1 

1 

CO 

1 

1 

T 

T 

5 

o 

1 

i 

1 

"* 

7 

7 

7 

7 

1 

7 

7 

7ti 

O 
O 

CO 

r-i 

1 

72 
TABLE  VL— A.D.  1400  to  1499. 

MUSICAL  EPOCHS  AND..  EVENTS. 


[II. 


•d  8 

II 

aS 

i  o 

Ofq 


n.] 


73 


TABLE  VI.— A.D.  1400  to  1499. 

MUSICIANS. 


T 

s 

1 

■o 

o 

Q 

1 

to 

1 

1 

s 

1 

CO 
1 

T 

OS 

1 

g 

OQ 

PCS 

s 

.a 

1 

a 

CO 

1 

to 

1 

OS 

1 

T 

1 

7 

1 

T 

7 

7 

T 

1 

1 

00 

1 

1 

T 

7 

7^ 
1 

7 

7 

7 

7 

I 

1 

a 

^ 

1 

T 

T 

a 

1 

to 

1 

T 

pO 

g 

< 

• 

1 

to 

1 

OS 

1 

1 

1 

1 

T 

T 

1 

1 

a 

3 
Q 

1 

1 

00 

1 

T 

T 

1 

7 

7 

7 

7 

7 

1 

7 

1 

o 

1 

1 

to 

7 

7 

i 

1-5 

T 

T 

OS 

1 

^ 

CO 

1 

to 

1 

1 

T 

i 

* 

7 

7 

00 

7 

7 

1 

00 

1 

7 

7 

T 

7 

7 

7 

* 

r-l 

T 

7 

7 

7 

7 

o 
o 

1 

74 


[ri. 


TABLE  VII.— A.D.  1500  to  1599. 

MUSICAL  EPOCHS  AND  EVENTS. 


^^"" 

^^" 

^Jv 

•E 

1 

» 

Is- 

.a   o 

II 

oJ 

■^ 

S  "2 

o  1 

s 

1 

! 

5* 

Serpent, 
the  Belgli 
ra  produc 

a  » 

»:• 

•             a 

r. 

R 

1 

■s  «< 

_.„ 

o 

1 

c  H 

§ 

1 

8 

"o 

i§ 

o 

o 

•S 

o 

" 

■^ 

tf 

'" 

1 

■S        s 

6 

13          «• 

a 

1=^ 

iGAi,,  ascribe 
illaert. 

Italian  Schoo 

2 

fi 

¥ 

■4               <M 

2-^ 

p 

•a 

S           ° 

o  PS 

1 

g     2 

§ 

O 

• 

o 

1^ 

C3 

8 

C4 

GD 

« 

o 

O 

6 

■*f 

_o 

3 

S 

5 

"S 

■ij 

a 

a 

s 

TJ^ 

S 

0 

§•:; 

1| 

a 
> 

.9 

OQ 

"a 

5fl 

=§« 

• 

P 

'O 

• 

o 

o 

o 

o 

o 

o 

^ 

s 

n.] 


75 

TABLE  YIL— A.D.  1500  to  1599. 

MUSICIANS. 


"T" 

^■■" 

._. 

•s  ':--3,'?'«?i?-  i 

CO 

«               o.     1 

1  ?• 

1 

1 

1 

•c 

il 

1 

1 

1 

:S 

S 

^      S|| 

.o 

IN            lO          ifO        1 

Cb 

C4 

•o 

<e 

«g 

1 

1 

1 

1 

1 

1 

•« 

1 

l-«-2 

1 

1-53 

S 

§* 

ss 

§g 

3 

1 

i 

'1 

1 

7 

T 

7 

7 

1:1 

1 

7^- 

3 

7  It  1 

•6  S 

•o 

1 

"3 

1 

f- 

c 

II 

CO  ^ 

T    ?  . 

1 

T 

<j 

1  o 

T 

T 

-o 

1 

3 

1 

1 

a 

1 

T 

a 

e5 

5 

o 

T 

1 

T 

1 

1-^ 

T. 

(M 

1  -^ . 

CO 

1 

o 

Js 

o-* 

-•5^- 

1 

o 

r 

S 

■| 

u 

«S^ 

T 

T"* 

1 

7 

•§ 

7 

T 

7 

7'*" 

1 

7~ 

a 

-? 

C 

"« 

■a 

b^ 

(S 

^ 
a 

s 

i 

1 

1 

•s 

^ 

» 

' 

& 

n  -^  I'd 

(3> 

CO 

o 

? 

CO 

<o 

ei 

■o 

-3 

7| 

g 

1 

71 

1'  ^• 

1-3 

3 

1 

1 

1 

1 

1 

fe 

S 

'S 

' 

oi        >o 

s 

1 

1    .   . 

00 

1 

7"^ 

1 

00 

1 

i     '  1 

1 

■♦a 

7 

1 

■s| 

^ 

1  F 

•o 

•o 

^W 

s 

6 

1 

S 

c 

1 

3* 
1 " 

1^    . 

1-^ 

rH 

1 

7^ 

l1 

T 

7 

-o 

•§  1 

mi 

o 
O 

1 

1 

o 

1 

1 

1 

<£'    ^ 

1 

t^i 

Oc 

^^ 

76 

TABLE  VIIL— A.D.  1600  to  1699. 

MUSICAL  EPOCHS  AND  EVENTS. 


[n. 


I  .9 


3    -^ 

S  .3 


>, 

.o 

-d 

o 

r^ 

o 

ga 

.^  -^ 

f^ 

a 

OQ 

^ 

8 

2 

s 

g 

Ph 

o 

s 

O 

io 

«> 

'^ 

5"^ 


to 


«■   S 


s  s 


(5 


o 

.£  ®  ^    •  cT 

c  ^  ^^  3  3.    e 

[go  I. ^  «•    e 


.^ 


"■] 


11 


TABLE  VIII.— A.D.  1600  to  1699. 

MUSICIANS. 


01 

1 

s 
1 

Hi 

1 

T 

1 

s 

1 

s 

1 

1 

0-. 

1 

! 

CO 

l-B 

1 

o 
1^ 

.■e 

U 
> 

7 

1 

00 

1 

1 

7 

00 

1 

1 

1,- 

1 

1 

§ 

7 

7 

1 

7 

7 

1 

7 

1 

7 

1 

o 

T 

7  ■ 

1  -a 

T 

1 

g 

CO 

1 

T 

< 

S 

1 

1 

H 

to 

1 

i 

1 

T 

7^- 

1 

T 

00 

1 

1 

'.Si 

00 

1 

T 

'1 

•c 

o 

1 

1 

7 

7 

1 

7 

7 

'1 

Q 

^3 

1 

o 

7 

CO 

7 

Is 

> 

7 

! 

T 

to 

1 

I 

p 

f 

CO  .J 

O 

to 
1 

T 

7? 
•i 

o 

d 

7 

00 

T 

T 

o 

i 

T 

T 

7 

7 

7 

7 

Til 
1 

7 

7^ 

"3 
o 

*r 

o  N 
211 

78 


[n. 


TABLE  IX.— A.D.  1700  to  1799. 

MUSICAL  EPOCHS  AND  EVENTS. 


w  .s 


•a 

Zt'-i 

s? 

-c 

«*-»  ^^ 

!< 

& 

'^Tj 

s 

o 

^■« 

_o 

"3  3 

iS 

o  O 

"^ 

'rt 

OQ-K 

S 

•s 

.^ 

(» 

^ 

CI 

^ 

!* 

^ 

'"' 

d 

r 

•g 

4i 

T 

t 

e 

■^ 

s 

o 

k 

o 

ft. 

B'r.    ^ 

■«  6<  S 

-el  S- 


•r    RI2 
s     ■ 


i  s  I 

=5    2    3 

«    S    § 

^  i  3 

i  -3  "^ 

SI 

•     «) 

K 


O 

o 


8 


o  g 


§=3 
^3 


n.] 


79 


TABLE  IX.— A.D.  1700  to 

MUSICIANS. 


1799. 


"■^ 

CO 

® 

^■^ 

eo 

to 

(% 

■■■■" 

05 

1 

t 

1 

•a5 

^ 

-  $ 

ut:. 

1 

1 

11 

1 

1 

^3 

CD 

.^ 

1 

1 

■=? 

op 

oq 

O 

■=? 

«         ip       ,09 

op -Ob 
1  II 

H 

! 

1^ 

1 

1- 

IS 

if 

S 

i 

1 

'2 

1 

! 

u 

1 

1 

l-l 

1 

T 

1 

T.O- 

i 

2-e 

'Ii 

« 

^ 

1 

w;l 

Til 

<o 

eo 

«? ,     <? 

eo    • 

« 

? 

«o           1«? 

? 

1 

1 

ii 

1 

1 

11 

-1 

^1 

1* 

•a 
1 

■M 

"9 

oo« 

<«           <a 

°f 

=?      i"? 

°P 

1 

1^ 

1  fee- 

s 
1 

■a 

B 
1 

5 

§  i 
op 

e 
>• 

5 

! 

n 

1 

1 

T 

T 

•* 
1 

7 

1": 

7. 

7 

3 
5 

1 

1 

1 

III 

t            '6 

eo 

Ol 

CO 

9 

•3 

1 

1 

1 

. 

U- 

s 

li 

£ 

^ 

1 

1 

""S 

^ 

< 

O             ,  00 

v»           o 

T 

C4 

>o 

00 

1 

1- 

1 

1 

1 

0 

1 

'1^ 

1  « 

oS 

1  2 

i^ 

>5 

1 

1 

2| 

El 
<  = 

'  fi 

£; 

n 

s 

o 

s 

1 

n 

H 

=  8.2 

7 

OS 

1 

1 

1*2 

1 

7. 

M 

O  ^ 

O  t 

80 


[n. 


TABLE  X.— A.D.  1800  TO  THE  PRESENT  TBIE. 

MUSICAL  EPOCnS  AND  EVENTS. 


J3 

W 

<o 

S3  fi 

(S^. 

,  - 

>>V^ 

s 

5 

11 

CO 

S-^ 

A 

^ 

to 

i 

' 

3 

■2 

?? 

:» 

.■* 

>^'^ 

,^ 

B 

k, 

C) 

<i 

1 

1 

Is 

ra 

b 

?  ° 

d 

H 

6>> 

3 

'S 

^ 

1=1 

00 

£ 

II.] 

TABLE  X. 


81 
-A.D.  1800  TO  THE  PEESENT  TIME. 

MUSICIANS. 


•<•* 

«  . 

« 

eo         to 

0-.     . 

•""^ 

cs—-  oi 

1  -e-o 

1  -e 

1 

1 

1  • 

1  "8 

1  b2| 

^    Is 

P 

H 

0 

1       «l 

a 

1 

7 

g 

T:^ 

T- 

t 

7 

00 

1 

2           S 

1 

8 

■3 

1 

a 

j3 

& 

1 

S 

6 

M 

•< 

P5 

1 

•8 

7  .-• 

T^ 

'7~3 

7 

^1 

8 

1 

1      ■•^•§ 

5 

a 

2 
[3 

i 

to 

a      «B 

s 

« 

«p           o. 

CO 

»•« 

? 

1 

1 

1-8-S,    1 

1 

1  f- 

!•« 

.Si 

a 

3 

1 

ISfe 

to 

1 

03 

(M 

■?  • 

7-3 

c» 

•0 

°?-3 

1 

1  ■« 

1  ^ 

1 

1  ■« 

'    ?? 

! 

>> 

1 

.a 

1 

0 

■^"2 

"*'o^ 

o 

GO 

w 

^ 

•o 

■-I 
1 

S=5 

7l 

0 

7.3 

1 

7 

7-a 

1  .2 

«^-^ 

t> 

« 

^ 

Q 

m 

» 

CO 

<o 

a> 

to      i<o  "S 

a 

II 

.2  ® 

1 

1 

1 

1 

■p. 
0 

0 

-3 

1 

IS" 

11 

>>a3 

1 

<> 

' 

£ 

1 

•a 
P.2 

ij 

0 

7 

00 

1? 

1 

0 

T 

£  5 

75 

3 
ft 

i6x 

7 

-3 

1 

g 
0 

1 

0 

p 

73 

«;^ 

c 

7*- 

7-'-^  7-^^- 

7 

•* 

u- 

a> 

1 

7^ 

7 

Si- 

00 

1 

3 

Hinime 
Verdi 

Gade 

1 

1 

1 

1 

82  History  of  Music.  [in.  i,  2. 


SECTION  IIL— AET  SUMMARY. 

1.  For  the  reasons  adduced  at  the  commencement  of 
the  first  section  of  this  work,  we  shall  not  lead  our 
readers  into  the  labyrinths  of  Greek  scales,  or  the 
fanciful  dissertations  of  mediaeval  writers  on  musical 
theory,  but  will  proceed  at  once  with  the  actual  history 
of  music  as  an  art  (and  science),  which  practically  dates 
from  the  fourth  century  after  Christ. 

2.  The  plain-song  of  the  early  Christian  Church 
was,  as  we  have  seen,  formed  upon  the  old  Greek  scales 
or  modes,  the  use  of  which  was  carried  into  Italy  by 
the  Greek  slaves  who  acted  as  minstrels  to  the  rich 
dilletanti  of  Rome.  The  voice  was  generally  accom- 
panied with  the  l)Te  ()^vpa),  an  instrument  which  had 
from  seven  to  fifteen  or  sixteen  strings.  "Whether  the 
lyre  supplied  harmony  or  merely  "  doubled  "  the  voice 
is,  however,  an  open  question.  There  is  no  record  of 
this  instrument  being  employed  in  the  Church ;  and  in 
all  probability  it  Avas  judged  as  of  too  secular  a  charac- 
ter to  admit  of  its  use  in  Divine  woi-ship.  The  modes 
or  scales  of  Gregory  the  Great  have  already  been  tabu- 
lated {v.  sect.  i.  par.  10);  we  shall  now  present  our 
readers  with  a  view  of  the  eight  chants  or  "  tones " 
formed  upon  those  modes.  The  following  are  quoted 
by  Sir  John  Hawkins  from  a  work  by  Gaifurius 
(1502).  For  the  convenience  of  the  student  we  have 
translated  them  into  the  modern  notation  : — 

Ex.  L    TABLE  OF  GREGOBIAN  TONES. 
Tons  I. 


•Pri-mus      to  -  nus  sic  in  -  ci  -  pit  sic   me    -    dia  -  tur 


♦  "The  first  Tone  thus  commenceth,  thu8proceedeth(orn)«2tate«),  and 
thus  endeth." 


III.  2.] 


Art  Summary. 


83 


Ending  i. 


sic    fl  -  ni    -    tur    ,    .    . 
Ending  iii. 


Ending  iv. 

~G — & — ^- 

-i 1 h2- 


TONE   II. 


ai 


-jrizi^ 


^  — o — & — (SI — e 


-& — & — ©— 


Se  -  cun  -  du8  to  -  nus  sic    in  -  ci  -  pit      sic    me  -  di  -  a  -  tur 
Ending  i  Ending  iL 


aiE^ 


-f- 


et       sic        fi    -    nl   -   tur, 
Tone  III, 


-&■   -G-  -G-   -G-   -•-  -•-   -G-      -^-   -•-   -•- 


BE^ 


:t=^ 


iizt: 


il 


^ 


Ter  -  ti  -  us    to  -  nus  sic    in  -  ci  -  pit      sic  me  -  di  -  a      -      tur 
Ending  i  Ending  ii.  Ending  iii. 


It 


tm 


'XA 


It: 


X=^ 


et  sic       fl    -    ni  -  tur. 
Tone  IV. 


et 


-s> — e — Q — © — • — • — e- 


j:.Tz^4— I 


i^P 


Juar  -  tus         to  -  nus  sic    in  -  ci  -  pit      sic     me  -  di  -  a  -  tur 
Ending  ii.  Ending  iii. 


et       sic  fi    -    ni  -  tur. 
Tone  V. 

-G-    -G-    -G-    -9- 


OE^EE 


It:— r-l-4: 


-^    -G- 


Quln  -  tus    to  -  nus    sic    in  •  ci  >  pit     sic     me  -  di  -  a  -  tur 


84 


History  of  Mmic, 


[ill.  2. 


3£ 


Ending  i. 


Ending  ii, 


fe^ 


TosK  VI. 


ir=t 


-GO     O     &—m—»     '^  ]  f^     0\^)^—&—G~^—     g-^^i 


7-^-2 »3 — &< — &" — e* — &>—•—»- 


It: 


T-~ 


Sex-tua       to-nu8sic  in-ci-pit  sic    me     -     di  -  a 

-G & — yn G »5 


m 


et      sic      fi    -    ni 
Tone  VII.  Vd  tie. 


tur. 


BE^E 


a-G-^„—G—<^-f^—f^—<^- 


:si 


t:^ 


Sep  -  ti  -  mus      to      -      nus 


in  -  ci  -  pit 


2~f^^Y-f-^-p~p£^Z?3. 


Ending  i 


-f=i=^ 


?=P2: 


Tone  VIIL 


Vel  tic  tolennif. 


m 


.ZZ21 


Oc  -  ta  -  vus      to  -  nus     sic 


Ending  L 


in  -  ci  -  pit 

Ending  u. 


sic      me  -  di  -  a    -    tur        et  sic  fi  -  ni-tur. 


These  chants  were  ordered  to  be  used  in  all  the 
Christian  churches  of  Europe,  and  to  be  used  in  their 
integrity.  It  must  not  be  supposed,  however,  that 
strict  uniformity  in  the  manner  of  singing  the  tones 


ni.  2, 3  ]  Art  Summary.  85 

could  be  preserved  throughout  Christendom  ;  the  Gallic 
singers  took  great  liberties  with  the  Cantus firmus,  and 
were  frequently  rebuked  for  their  many  unpardonable 
licences.  Besides  the  above,  there  were  the  more 
ancient  "  Ambrosian  Chants,"  so  called  after  St,  Am- 
brose, who  either  composed  them,  or  more  probably 
directed  their  use  in  the  Church.  The  following  ex- 
amples we  take  from  Dr.  Crotch's  valuable  work, 
"  Specimens  of  Various  Stales  of  Music  ": — 

Ex.  2.    AMBROSIAN  CHANTS.     (Circa  a.d.  334—397.) 
ry  —"       o —  Ijg^i  [I  -^  n ? 


i 


3.  The  general  method  of  singing  the  chants  was 
alternate  or  antiphonal :  either  between  priest  or 
choir,  or  from  "  side  to  side,"  as  the  Psalms  are  now 
sung  in  our  cathedrals.  Cathedral  choirs,  and  those  of 
most  churches,  have  for  ages  been  divided  into  two 
portions  facing  each  other,  and  respectively  termed  Z)e- 
cani,  or  the  side  of  the  Dean  or  other  principal  priest, 
and  Cantoris,  or  the  side  of  the  Cantor,  Precentor,  or 
"  chief  singer."  Hawkins  mentions  yet  other  modes  of 
antiphonal  singing ; — "  With  respect  to  the  music  of 
the  primitive  church,  though  it  consisted  of  psalms  and 
hymns,  yet  was  it  performed  in  sundry  different  man- 
ners; that  is  to  say,  sometimes  the  psalms  were  sung  by 
one  person  alone,  the  rest  hearing  with  attention; 
sometimes  they  were  sung  by  the  whole  assembly ; 
sometimes  alternately,  the  congregation  being  for  that 
purpose  divided  into  separate  choirs ;  and,  lastly,  by 
one  person,  Avho  repeated  the  first  part  of  the  verse,  the 
rest  joining  in  the  close  thereof.  Of  the  four  different 
methods  of  singing  above  enumerated,  the  second  and 
third  were  very  properly  distinguished  by  the  names  of 


86  History  of  Music.  [m.  3, 4. 

symphony  and  antiphony,  and  the  latter  was  sometimes 
called  responsaria ;  and  in  this,  it  seems,  women  were 
allowed  to  join,  notwithstanding  the  apostle's  injunction 
on  them  to  keep  silence." 

4.  The  ancient  chants  and  hymn-melodies  of   the 
Church  were  all  built,  as  we  have  seen,  upon  the  Greek 
scales  or  modes — Dorian,  Lydian,  Phrygian,  &c.     The 
origin  of  the  modern  major  scale,  now  common  to  the 
whole  of  the  civilized  world,  has  never,  to  our  know- 
ledge, been  actually  traced  or  satisfactorily  accounted 
for.     The  native  airs  of  Western  Europe,  where  the 
modem  scale  took  its  rise,  are  built  upon  totally  differ- 
ent  tonalities — the    Scotch   and   Irit^h,    for   instance ; 
while  in  England  itself,  the  primitive  melodies  sung  by 
rustics,  from  Yorkshire  to  Somerset,  denote  a   mode 
similar  to,  if  not  identical  with,  the  Dorian.*     In  the 
absence  of  direct  evidence  to  the  contrary,  we  are  in- 
clined to  the  belief  that  our  present  scale  was  gradu- 
ally  evolved   in    obedience    to    the   requirements    of 
counterpoint.     "With  most  of  the  old  modes  the  use  of 
imperfect   concords    (thirds    or   sixths),    especially   if 
syncopated  or  suspended,  would  be  less  tolerable  even 
than  sequences  of  consecutive  fourths  or  fifths.      An 
experiment  upon  a  complete  scalar  passage   in  most 
of  the  modes  will  exemplify  this.     The  absence  of  the 
"  leading-note  " — the  7th  of  the  scale  a  semitone  distant 
from  the  octave — for  a  long  time  deprived  musicians  of 
the  perfect  cadence.     For  one  or  two  centimes  after  the 
introduction  of  added  parts  to  a  melody,  the  subject 
was  invariably  taken  from  the   Gregorian  plain-song ; 
but  gradually  it  became  the  custom  to  raise  or  lower  by 
a  semitone  various  notes  in  order  to  avoid  awkward  in- 
tervals.    In  the  Dorian  mode,  for  example,  the  sixth 

*  Many  readers  will  doubtless  recognize  the  following  fragment 
as  a  familiar  "pastoral"  strain  : — 


'J^~j:r 


5^3^ 


-a-" 


III.  4, 5.]  Art  Summary.  87 

note,  Bfl,  was  altered  to  Bb,  on  account  of  the  disso- 
nance existing  between  the  former  note  and  F,  the  third 
degree  of  the  scale.  If,  to  create  a  "  leading-note," 
Ave  raise  the  seventh  degree  (Cfl)  to  CJi,  we  have  at 
once  the  complete  modern  scale  of  D  minor.  That 
of  D  was  the  usual  minor  key  with  the  early  con- 
trapuntists ;  next  to  it  came  the  key  of  A  minor,  pos- 
sibly founded  upon  the  related  plagal  mode,  the  Hypo- 
Dorian  {v.  sec.  i.  ^Jrtr.  10),  which  required  only  the 
raising  of  the  seventh  degree  by  a  semitone  to  consti- 
tute it  a  perfect  modern  minor  scale. 

5.  The  first  attempt  {on  record)  to  clothe  the  bare 
unisonal  or  octave-singing  of  the  appointed  plain  chants 
of  the  Church,  was  that  of  the  Fleming,  Hucbald.  His 
diaphomj,  or  two-part  accompaniment  upon  the  rude 
pipe-organ  which  at  that  time  was  being  introduced  into 
the  principal  cathedrals  of  Europe,  consisted  of  an  un- 
varying succession  of  fourths,  fifths,  or  octaves,  which 
would  give  the  cantus  firmus  a  certain  grimness  and 
stiffness  not  wholly  out  of  character  with  the  native 
severity  of  the  Gregorian  tones.  Some  writers  state  that 
the  oi-ganum  was  not  played  but  sung,  others  that  it 
was  intended  to  be  sung  at  a  certain  time-distance  after 
the  cantus,  as  a  kind  of  canonic  imitation.  But  if  we 
look  at  the  following  specimen  of  the  organum  or 
diaphony  by  Guido  {circa  1022)  we  shall  at  once  see 
that  the  latter  hypothesis  is  utterly  untenable  : — 

Ex.  3.    Organum  or  DrAPHONY. 
(a)     Cantm. 


At  whatever  point  we  may  commence  the  discantus 
or  Tinder-part  we  shall  be  met,  sooner  or  later,  bj  in- 


88  Sistory  of  Music.  [iii.  6, 6. 

superable  difficulties.  "We  must,  therefore,  accept  the 
above  crude  accompaniment  as  it  stands.  We  can, 
however,  imagine  the  birth  of  a  more  euphonious 
counterpoint  by  the — perhaps  at  first — accidental  com- 
bination of  a  portion  of  the  cantus  firmus  with  a  new 
commencement  of  the  octave  organum,  as  below  : — 


Ex.  4. 

Cantus. _^^    _£2_ 

-&- 

J2. 

-G- 

-Q. 

-&- 

JO. 

-G- 

* 

*  J. 

^_ 

a 

,,^ 

-- 

cr^ 

,^^ 

diBcantus. 

At  the  point  *  the  imitation  would  be  interrupted, 
when  the  performer  would  either  resume  his  octave 
accompaniment  or  proceed  to  the  invention  of  further 
imitations  at  other  intervals.  This  suggestion  is  offered 
with  considerable  diffidence  and  only  in  the  absence  of 
any  other  rational  proposition. 

6.  Into  the  various  musical  methods  invented  by,  or 
attributed  to,  Guido  d'Arezzo,  it  would  be  impossible 
to  enter  at  length,  in  the  present  little  work  ;  and  many 
of  the  descriptions,  as  given  by  Hawkins  and  others, 
would  only  be  confusing  to  the  student.  The  chief 
innovation  appears  to  have  been  the  extension  of  the 
old  tetrachordal  system,  introduced  by  Ambrose  and 
Gregory,  to  that  of  the  hexachord,  or  six-note  series. 
This  hexachord  system  is  illustrated  by  the  employment 
of  the  UT,  RB,  MI,  &c.,  which  form  the  commencing 
syllables  of  the  lines  we  have  already  quoted  (sec.  i.  15) ; 
the  melody  to  which  they  are  supposed  to  have  been 
set  by  Guido  runs  as  follows  : — 

Ex.  6. 
UT    que  -  ant     lax      -      is       BE  -Bo-na-re       fi-  bris 


III.  6.] 


Art  Summary. 


89 


ei 


ra    ges    -    to  -  rum    FA  -  mu  -  li 


ei 


l^S^SL 


SOL   -   ve  pol-lu  -  ti    LA-bi  -  i    re  -  a  -   turn   Sane  -  te  Jo-an-nes. 

It  will  be  observed  that  the  tonality  of  this  chant  in 
no  way  coincides  with  that  of  our  modern  scale.  The 
invention  of  the  stave,  or  staff,  for  the  purposes  of 
notation,  is  popularly  ascribed  to  Guido,  though  some 
writers  affirm  that  a  seven-lined  stave*  was  in  use  before 
his  time.  For  several  centuries  the  size  of  the  stave 
varied  considerably,  some  employing  three,  some  four, 
some  seven,  some  eight,  others  ten,  and  others,  again, 
as  many  as  eleven  lines.  From  the  last  mentioned  it  is 
stated  that  our  modern  five-lined  staves  are  derived,  the 
fixed  F  and  C  lines  being  variously  supplemented  above 
and  below  to  suit  the  respective  requirements  of  the 
various  voices : — 

Ex.  6.    Divisions  of  the  Great  Stave  of  Eleven  lines. 


Bass.       Baritone.    Tenor.      Alto.  Mezzo     Soprano.    Violin  or 

Soprano.  G  clef. 

In  the  ancient  missals  the  C  and  F  lines  were  eithei 
painted  in  distinctive  colours  or  were  written  as  dotted 
or  thickened  lines,  with  a  view  to  the  more  readily  dis- 
tinguishing them.  They  thus  served,  in  a  rude  fashion, 
the  purpose  of  the  modern  clefs,  which,  in  their  turn, 
are  a  development  of  the  rudimentary  forms  to  be  seen 
in  the  staves  still  employed  for  "  Gregorian  "  music  : — 

•  Of  this  stave  the  lines  only,  not  the  spaces,  were  used  for  the 
notes. 


90 


History  of  Music. 


[ill.  6 — 8. 


Ex.r. 

a 

i-a-a 

_B- 

-1-^- 

_- 

-■- 

.9. 

..  ■  ■  " 

— 

-^ 

■ 

■ 

P  clef. 


C  clef. 


This  stave  of  four  lines  was  the  one  generally  adopted 
in,  and  for  some  time  after,  the  thirteenth  century, 

7.  It  would  appear  that  Guido  and  his  contempo- 
raries used  notes  which  were  all  of  the  same  character 
and  relative  time  duration,  for  the  first  indication  of 
long  and  short  notes  we  have  is  from  the  writings  of 
Franco  of  Cologne,  who  gives  the  maxima,  longa,  brevis 
and  semibrevis  {sec.  i.  16),  and  thus  creates  the  canius 
mensicrabilis,  or  measured  song.  These  characters  and 
terms  were  employed  for  several  centuries,  and  our 
modem  system  of  notation  is  founded  upon  the  inven- 
tion of  Franco.  For  a  long  period  the  system  was 
ascribed  to  Jean  de  Meurs  (or  Muris),  but  the  claim  of 
Franco  has  since  been  thoroughly  established.  Dr. 
Crotch  furnishes  the  following  specimen  of  Franco's 
counterpoint,  rendered  into  modern  notation  : — 


Ex.  8. 
n 

Franco. 

7^  rh \ — ^ 



Frr-T-w — r 
^=t — ^ — i — ra-f 

i 


m 


sf-     -^ 


:=2i: 


8.  We  advance  a  step  in  the  history  of  counterpoint, 
when  we  find  Marchnttus  of  Padua,  who  flourished 
about  the  early  part  of  the  fourteenth  century,  giving 
rules  for  the  alternate  employment  of  consonances  and 


III.  8,  9.]  Art   Summary.  91 

dissonances.  But  if  we  are  to  place  any  faith  in  the 
authenticity  of  the  preceding  example — i.  e.  if  it  has  not 
received  some  "  finishing  touches  "  from  a  later  hand-- 
we  may  be  sure  that  nearly  every  rule  necessary  to 
the  production  of  good  counterpoint  was  known  in  the 
time  of  Franco. 

9.  The  early  theorists  and  historians  generally  were 
ecclesiastics,  and  devoted  their  attention  mainly,  if 
not  exclusively,  to  Church  music  ;  consequently  there  is 
hut  little  record  of  the  progress  of  secular  music  during 
the  first  twelve  centuries  after  Christ.  There  are,  how- 
ever, various  allusions  to  the  existence  of  a  race  of 
itinerant  minstrels,  who  visited  the  houses  of  the  great, 
and  sang  to  them  ballads  of  which  famous  exploits  or 
weird  legends  formed  the  principal  themes.  The  story 
of  King  Alfred  assuming  the  character  of  one  of  these 
wandering  musicians,  as  a  safe  disguise  and  passport  for 
admission  into  the  enemy's  camp,  is  a  familiar  passage 
in  every  history  of  England.  There  seems  little  doubt 
that  Alfred  was  as  accomplished  a  musician  as  he  was 
a  poet,  and  that  he  did  much  to  further  the  progress  of 
musical  art  in  England.  By  some  he  is  even  credited 
with  being  the  founder  of  the  Chair  of  Music  at  Oxford, 
but  there  is  scarcely  sufficient  evidence  at  hand  to  prove 
this.  These  "■  bards,"  or  "troubadours,"  as  they  came 
to  be  called,  led  a  romantic  and  adventurous  life,  and  it 
was  no  uncommon  freak  for  a  man  of  gentle  birth  to 
take  up  the  role  for  a  time.  Very  frequently  it  so 
happened  that  two  or  more  of  these  poet-minstrels  were 
visiting  the  same  house  or  hostelry  at  the  same  time, 
and  as  a  natural  consequence  they  entered  into  friendly 
competition  for  the  first  place  in  the  esteem  of  their 
listeners.  There  is  no  doubt  that  this  practice  de- 
veloped into  the  more  public  "  tournaments  of  song  " 
which  formed  a  strong  feature  in  the  musical  enterprise 
of  the  twelfth  and  thirteenth  centuries.  The  Minne- 
adnger  were  a  famous  confraternity  of  German  trouba- 
dours who  held  public  competitions  for  the  post  of 


92 


History  of  Music. 


[ill.  9,  10. 


honour,  or  laureateship,  of  the  country.  A  notable  con- 
test of  the  Minnesanger  took  place  about  the  year  1207, 
in  a  town  in  Saxony.  It  is  affirmed  that  "  the  original 
home  of  the  troubadours  was  Provence,  in  the  south  of 
France,  where  they  originated  about  the  eighth  century. 
Subsequently,  at  the  time  of  the  German  Minnesanger, 
there  were  also  troubadours  in  Italy,  Spain,  and  Eng- 
land." The  JilistedfJ/od,  or  annual  musical  competition 
in  Wales,  is  a  remnant  of  the  old  bardic  contests  of 
this  country.  The  Meistersanger  of  Germany  were  a 
subsequent  race  of  musicians,  who  in  the  fourteenth  cen- 
tury sought  to  revive  the  ancient  exploits  of  the  Minne- 
sanger, and  for  that  purpose  formed  themselves  into 
bands  or  guilds  for  the  regulation  of  contests ;  but  these 
had  a  very  ephemeral  existence.  Wagner's  opera  the 
Melstersinger  is  founded  upon  the  popular  traditions 
regarding  these  later  troubadour?,  who  were,  as  a  rule, 
ignorant  of  the  true  art  of  poesy  or  of  musical  compo- 
sition. 

10.  In  the  first  section  of  this  work  (par.  17)  we 
have  alluded  to  two  or  three  of  the  principal  trouba- 
dours of  the  thirteenth  and  fourteenth  centuries,  and 
have  given  the  first  mention  to  Adam  de  la  Hale,  of 
Provence.  In  his  "  History  of  Music,"  Professor  Ritter 
gives  two  of  De  la  Hale's  melodies.  The  second  of 
these  two  we  shall  quote  here,  with,  however,  a  con- 
siderable alteration  of  Professor   Eitter's   added   har- 


Ex.9 
0      ^     ^ 

h-i 

Melody  by  De  la  Halb. 

,        i         .     ,         1. 

7^k-3~^ — ^ 

=4^-— j«» 

■"i — h 

=!~?- 

-J    d.^- 

S^: 

y  >^- J-*- 

-*-r^—^ 

--d—&- 

Zj_«_3L_ 

1  1 
1   . 

J  1,1,  ,  n  ij  J 

''^'    '  ^   • 

f3 

"^fe-^'   ^ 

_*_g_. 

~^  r' 

T   ? — 

^  r— 1 

-T~^ 

m    P^ 

■A 1 

-1 P2-- 

1     i 

1     1 

^ 

1 

III.  10,  11.] 


Art   Summary. 


93 


^ 


r-r 

The  above  is  taken  from  a  little  musical  play,  or 
masque,  entitled  Robin  and  Marion.  De  la  Hale  com- 
posed several  of  these  dramatic  pieces,  which  were  a 
kind  of  secular  counterpart  of  the  ancient  miracle-plays 
or  "mysteries" — of  which  more  hereafter. 

11.  The  art  of  counterpoint  received  its  full  develop- 
ment at  the  hands  of  the  Belgian  or  Flemish  masters, 
of  whom  Dufay  was  the  first  of  any  iiote.  It  was  be- 
lieved that  to  this  master  we  owe  the  invention  of  the 
canon,  or  imitation  at  regular  intervals  of  one  voice  by 
another.  Here  is  a  short  canon  in  two  parts,  "  at  the 
octave  above,"  by  Dufay  : — 

Ex.  10.  DtJFAY. 


If  '^ 

1 

— T 

^ \-^ 

;:^-zs'      • : 

«F= — 

1 L-j3_s, — 

4b — 

-o s^- 

.p — -Hi 1 — !_ 

"--i 

.. 

1 — t 

-1- 

-0- 

....  ,1 

S.-      ^*^-p 

94 


History  of  Mtisic. 


[ill.  11. 


This  specimen  exhibits  comparatively  few  crudities. 
The  canon  hy  Jusquin  des  Pres,  of  which  the  following 
is  the  commencement,  is,  however,  a  striking  advance 
upon  the  work  of  Dufay  : — 


JUSQUTN   DES   PrBS. 


PE 


122: 


-©-. 


Et 


£ 


ipr 


-P-     -G-      a 

4-^1 P- 


n                               O.J 

/                                                        ^ 

CJ                                      ,,.^,                            II 

/          ■      (TJ 

^                   IIOll                        1 

1  n 

"  ■'    111-311                                r2    (^ 

■'  p    i\ 

1 

^1'    '1       II 

1        <^   • 

w   rr 

t  )•    ■  '        '  ' 

I'  1  r 

r-J 

1 

(fee. 


The  musicians  of  this  (and  a  later)  period  gloried  in 
the  production  of  canons,  some  of  which  were  purposely 
so  enigmatical  that  it  taxed  the  ingenuity  of  their  con- 
temporaries to  discover  where  they  commenced,  and  at 
what  intervals  the  various  parts  were  to  be  employed.  As 
in  the  poems  of  George  Herbert  we  find  him  indulging  in 
quaint  metrical  devices  by  which  his  lines  are  sometimes 
made  to  represent  the  shape  of  an  altar  or  of  wings,  so 
we  find  the  old  contrapuntists  moulding  their  canons 
into  circles  or  triangles,  or  so  contriving  them  that  they 
may  be  sung;  any  way — upside  down,  or  backwards, 
making  equally  "good  counterpoint"  ineithercase.  Most 
of  these  caprices  must  have  cost  their  aixthors  many 
months  of  labour  and  thought;  but  from  a  musical 
point  of  view  they  are  worthless.  As  technical  studies, 
however,  they  were  not  W'thout  a  certain  value,  for 
they  led  to  the  discovery  rf  the  furthest  resources  at 
the  musician's  command,  and  familiarized  him  with 
every  form  of  melodic  combination. 


HI.  12.] 


Art  Summary. 


95 


12.  The  Bel<,'ian  writers  carried,  as  we  have  seen,  the 
art  of  counterpoint*  to  great  perfection,  and  formulated 
most  of  the  rules  which,  with  a  few  modifications,  are 
observed  by  strict  contrapuntists  at  the  present  day. 
They  divided  counterpoint  into  five  principal  methods 
or  "species;"  the  first  being  note  against  note  (the 
simplest  and  at  the  same  time  the  most  severe  form) ; 
the  second,  two  notes  of  counterpoint  to  one  of  the 
plain-song ;  the  third,  four  notes  to  one ;  the  fourth, 
syncopated  counterpoint;  and  the  fifth,  figurate  or 
florid  counterpoint.  For  the  benefit  of  the  general 
reader  a  short  illustration  of  each  species  of  counter- 
point is  appended  : — 

Ex.  12.    Counterpoint  {first  species). 


i^j^^l 


aiEEEEs3= 


m^^m 


Plain-Sono,  or  Cantus  firmus. 
Bx.  13.     CooNTERPOiNT  (second  species). 


:=c:?2: 


::t: 


ai 


Plain-Sonq. 
Ex.  14.    Counterpoint  (third  species). 


i 


qizil: 


:1= 


1 


t« 


--ifZ^T— 1 


^— •- 


BE 


Plain-Soxo. 


•  Contra,  against ;  punctmn,  point,  or  note. 


96  History  of  Music. 

FiX.  15.     Counterpoint  (fourth  speciet). 


[in.  12,  IS. 


rf n 

-V                  ^- 

-V    ^- 

-^ 

f-  P4 

N^ 

^= r= 

-f2 s>- 

"1 — r  ■ 

.   a 

_  _ ,,. 

■ 

^^r.— 

r^ 

-— <S> ' 

■zjs- 

Plain-Sono. 


«  i 1 1 — , — ^_| j__i 4 — t — 1 1     •    i j 1 

^  L 1 1-1 i . 1 — U) 1 ^ X 1 LI 1 — 1- U 

Ht — o ® D :=^ 

O                 ^                                                                                                               «>                O 

13.  Descant  was  an  art  by  which  the  singer  was 
able  to  add  to  a  plain-song  at  sight  a  kind  of  rough 
counterpoint  consisting  entirely  of  concords — the  uni- 
son, third,  fifth;  six'h,  and  eighth.  The  early  writers 
laid  down  a  number  of  rules  as  to  the  employment  of 
these  intervals  by  the  singer.  The  counterpoint  in  Ex. 
12  would  serve  as  an  illustration  of  the  allowed  pro- 
gression and  intervals  in  descant.  Faburden  {ox  f also 
bordone)  was  a  yet  simpler  form  of  counterpoint,  and 
was  originally,  as  the  term  indicates,  nothing  but  a 
drone  bass,  or  "tonic  pedal."  The  term  was  used 
afterwards  to  signify  a  simplified  species  of  descant, 
moving,  for  the  most  part,  in  thirds  or  sixths.  The 
following  fragment  of  an  example  given  by  Morley 
will  best  show  the  nature  of  the  faburden  : — 


Ex.  17.    Plain-Sono. 
r^' gy-g— g    ^    a 

rrs   ^    ^   a    ^ 

tl-  O   ^   a                     o   c^ 

■    -O-"     °    Q    o    O 

Faburden.     ^  .^..^. 

?3 

,^-^^  r.   ^  r.=^ 

&0. 


3      13      3     3      3 


1       33313331 


III.  13 — 16.]  Art  Summary.  97 

The  faburden,  when  written,  was  always  placed  under 
the  plain-song. 

14.  In  an  earlier  portion  of  this  work  (i.  24)  we 
have  alluded  to  the  practice  by  the  Belgian  composers 
of  employing  the  plain-song  of  the  Church  or  the  secu- 
lar melody  as  the  "  given  subject "  on  which  to  build 
their  counterpoint.  The  first  (so  far  as  we  know)  to 
break  through  this  established  custom  was  Des  Pres, 
who  frequently  invented  his  own  subjects,  and  may  be 
regarded  as  the  first  Composer  of  modern  music* 

15.  It  was  not,  however,  until  after  the  time  of 
Palestrina  that  the  ecclesiastical  modes  were  entirely 
set  aside  for  the  modern  major  and  minor  scales.  But 
Palestrina  and  his  contemporaries  had  learnt  to  discard 
the  circumscribed  plain-song  and  the  frivolous  air,  and — 
the  former  in  an  especial  degree — gave  to  Church-music 
not  only  dignity  but  sweetness  and  expression. 

16.  The  date  of  the  introduction  into  the  Church  of 
music  other  than  the  liturgical  (by  liturgical  music  is 
understood  the  Mass,  the  setting  of  the  Psalms  and 
Canticles,  &c.)  is  not  precisely  known.  The  miracle- 
jjlaij,  which  was  the  precursor  of  tlie  Oratorio,  was  a 
very  ancient  institution,  originally  introduced  by  the 
ecclesiastical  authorities  as  a  means  of  popular  instruc- 
tion in  sacred  doctrine  and  history,  but  afterwards  cor- 
rupted by  the  gradual  introduction  of  ab.^urd  and  mon- 
strous traditions  respecting  our  Saviour  and  his  apo- 
stles, and  by  the  interpolation  of  ludicrous  soliloquies 
and  dialogues.  The  reader  may  gain  a  very  fair  idea 
of  these  miracle-plays,  or  "  mysteries,"  from  the  example 
which  Longfellow  gives  in  his  well-known  poem  "The 
Golden  Legend."  L'Anima  e  Corpo  (i.  33),  produced 
as  a  specimen  of  the  reform  which  St.  Philip  de  Neri 
initiated  in  the  sixteenth  century,  is  little  more  than  a 
"mystery  "  play,  although  it  formed  the  immediate  inau- 

*  The  term  "  modern  music  "  is  used  in  contradistinction  to  that 
which  existed  in  the  ancient  or  ante-Christian  periods. 
7 


98  History  of  Music.  [in.  le. 

guration  of  the  oratorio.  The  stage-directions  of  Cava- 
liere,  the  composer  of  the  music  of  UAnima  e  Corpo,  are 
cited  by  Dr.  Burney  as  follows  : — "  It  is  recommended 
to  place  the  instruments  of  accompaniment  behind  the 
scenes,*  which,  in  this  first  oratorio,  were  the  following: 
A  double  lyre,  a  harpsichord,  a  large  or  double  gui- 
tar, and  two  flutes. — 1.  The  words  should  be  printed, 
with  the  verses  correctly  arranged,  the  scenes  numbered, 
and  characters  of  interlocutors  specified. — 2.  Instead  of 
the  overture,  or  symphony,  to  modern  musical  drama,  a 
madrigal  is  recommended,  as  a  full  piece,  with  all  the 
voice  parts  doubled,  and  a  great  number  of  instruments. 
— 3.  When  the  curtain  rises,  two  youths,  who  lecito 
the  prologue,  appear  on  the  stage ;  and  when  they 
have  done.  Time,  one  of  the  characters  in  the  Mo- 
rality, comes  on,  and  has  the  note  with  which  he  is 
to  begin  given  him  by  the  instrumental  performers 
behind  the  scenes. — 4.  The  Chorus  are  to  have  a  place 
allotted  them  on  the  stage,  part  silting  and  part  stand- 
ing, in  sight  of  the  principal  characters ;  and  when 
they  sing  they  are  to  rise  and  be  in  motion,  with  proper 
gestures. — 5.  Pleasure,  another  imaginary  character, 
with  two  compani'ms,  are  to  have  instruments  in  their 
hands,  on  which  they  are  to  play  while  they  sing  and 
perform  the  ritornels.— 6.  II  Corpo,  the  Body,  when 
these  Avords  are  uttered,  '  Si  die  hormia  alma  mia,' 
&c.,  may  throw  away  some  of  his  ornaments,  as  his 
gold  collar,  feather  from  his  hat,  &c. — 7.  The  World, 
and  Human  Life  in  particular,  are  to  be  gaily  and  richly 
dressed  ;  and,  when  they  are  divested  of  tlieir  trappings, 
to  appear  very  poor  and  wretched,  and  at  length  dead 
carcases. — 8.  The  symphonies  and  ritornels  may  be 
played  by  a  great  number  of  instruments ;  and,  if  a 
violin  should  play  the  princip  d  part,  it  would  have 
a  good  effect. — 9.  The  performance  may  be  finished  with 


♦  It  is  noticeable  that  "Wagner  has  reverted  to  this  old  practice 
of  concealing  the  orchestra. 


III.  16,  17.]  Art   Summary.  99 

or  without  a  dance.  If  without,  the  last  chorus  is  to  be 
doubled  in  all  its  parts,  vocal  and  instrumental ;  but  if 
a  dance  is  preferred,  a  verse  beginning  thus  :  '  Chiostri 
altissimi,  e  dcllati,'  is  to  be  sung,  accompanied  sedately 
and  reverentially  by  the  dance.  Then  shall  succeed 
other  grave  steps,  and  figures  of  the  solemn  kind. 
During  the  ritornels  the  four  principal  dancers  are  to 
perform  a  ballet,  '  saltato  con  capriole,'  enlivened  by 
capers  or  entrechats,  without  singing,  and  thus,  after 
each  stanza,  always  varying  the  steps  of  the  dance ; 
and  the  four  principal  dancers  may  sometimes  use  the 
galiard,  sometimes  the  canary,  and  sometimes  the 
courant  step,  which  will  do  very  well  in  the  ritornels.* 
— 10.  The  stanzas  of  the  ballet  are  to  be  sung  and 
played  by  all  the  performers  within  and  without." 
This  description,  which  presents  to  the  mind  a  thing 
totally  foreign  to  the  modern  idea  of  an  'oratorio  per- 
formance, is  valuable  as  showing  that  the  original  in- 
tention of  the  promoters  was  to  establish-  a  sacred 
drama,  not  a  lengthy  religious  cantata,  under  the  title 
"oratorio."  But  very  few  of  the  oratorios  which  are 
popular  at  the  present  day  are  literally  dramatic.  The 
Messiah  or  the  Creation  could  not  possibly  be  adapted 
to  the  stage  without  mutilation.  On  the  other  hand 
Bach's  Passion  (that  of  St,  Mattheio  in  particular) 
would  seem  to  approach  very  nearly  to  the  old  idea  of 
the  oratorio,  a  sacred  musical  drama,  with  its  narrator, 
and  the  responsive  double  choirs. 

1 7.  It  will  be  seen  that  the  early  oratorio  was  con- 
stituted of  the  recitative,  the  chorus,  and  the  ritornello 
or  instrumental  interlude.  The  recitative,  or  musica 
parlante,  introduced  as  a  revival  of  the  old  Greek  form 
of  musical  declamation,  was  employed  chiefly  as  a 
veliicle  for  the  narrative  portions  of  the  sacred  play.  It 
was  usually  sung  to  the  accompaniment  of  the  theorbo 
(arch-lute)  or  of  the  spinnet  or  harpsichord.  Cavaliere 
in  oratorio,  and  Monteverde  in  opera,  efTected  some 

•  Ritornello, — an  interlude  or  entr^  acte. 


100 


History  of  Music. 


[ni.  17 


improvements  upon  the  original  crude  recitative,  but 
Carissimi  gave  it  an  established  form ;  and  the  Arioso 
sprang  out  of  these  continued  elaborations.  The 
Aria,  with  its  "  binary  "  construction,  was  a  still  later 
development.  The  following  example  of  recitative  is 
taken  from  Mr.  Leslie's  edition  of  Carissimi's  oratorio, 
Jonah : — 


Ex.  18.     Recitative  from  Jonah. 


Carissimi. 


lot  did  fall  up-on      Jo 


nah. 


So  all  the  men  who  were 


BHE 


a=as 


SJSlti-t 


a  tempo  moderato. 


-  P 


n^ 


^-r 


3^^: 


-i-J-     *- 


>- 


5E 


Mu—^ 


in     the  ship  said   un  -  to      him. 

— I  1 1 1 — T — -"H-^— f- 


be; 


-  -I I        I — -■— •iM-d • 


T^    V 


m.  17.] 


Art  Summary. 


101 


A  short  extract  from  the  same  oratorio  will  serve  aa 
a  fair  illustration  of  the  dramatic  chorus-music  of  the 
seventeenth  century : — 

Ex.  19.    Chorus  from  Jonah.  ^^^^^^^  Cakissimi. 


:il 


^_£j_£j_.=^_ 


*--*—*—• 


So  they  did  take  up     Jo  -  nah.and  did  cast  him  forth  in  -  to  the 


T-^ — S-* — »-f-»    •    Q-  - 

1 -w — ^-  1-w >J -J— l. 


-2^--=^ 


What  has  been  said  of  the  art-development  of  the 
oratorio  will  apply  also  to  the  opera.  There  is  indeed 
but  little  distinction  to  be  made  between  "  sacred"  and 
"  secidar  "  choral  music  of  those  days.  The  following 
chorus  from  an  opera  by  Caccini  will  show  this  : — 

Ex.  20.  Caccini. 


fe^.g 


aE 


I — ^ — g —    ua — a_L_# — 0  _, 

L  .«.  -•-  -•-  1^,  .^f.      .0.  .0.  ., 

■•-  -•■  -•-   r 
/    ^    I      ' 


^zir^iJSr:!^.- 


r       r      F      \        I         I        I         r     I       I         .1         I 


-m-; * ■ mr 


102  History  of  Music.  [iii.  17. 

Until  about  the  middle  of  the  eighteenth  century, 
oratiirio  took  its  place  as  Church  music,  i.  e.  it  was  re- 
garded as  an  adjunct  to,  if  not  indeed  an  important 
feature  of,  Divine  worship.  Hence  the  introduction, 
by  Bach,  into  his  Passion  Music,  of  familiar  chorales 
in  which  the  congregation  were  allowed  to  take  part. 
Mendelssohn,  who  was  an  ardent  admirer  of  Bach,  and 
was  mainly  instrumental  in  reviving  the  popularity  of 
that  great  master,  himself  introduces  old  chorales  in  his 
oratorio,  St.  Paul,  and  also  in  the  Lohgesang,  Avhich 
was  first  performed  in  the  Cliurch  of  St.  Thomas, 
Leipsic.  It  was  Handel  who  established  the  oratorio 
upon  the  secular  stage,  and  since  his  time  perform- 
ances of  oratorio  have  been  almost  universally  confined 
to  the  concert-room.  Very  recently,  however,  there 
has  been  a  movement  in  favour  of  reinstating  this  class 
of  music  in  its  original  place,  and  the  Pussioyis  of 
Bach,  and  other  oratorios,  or  lengthy  selections  from 
them,  are  now  frequently  performed  in  our  cathedrals 
and  larger  churches.  In  design  and  construction,  the 
development  of  the  oratorio  progressed  side  by  side 
with  that  of  other  departments  of  musical  art ;  and  save 
in  the  matter  of  orchestration,  this  species  of  composi- 
tion is  pretty  much  where  Bach  left  it.  It  only  remains, 
therefore,  to  append  a  list,  chronologically  arranged  as 
far  as  possible,  of  the  principal  composers  of  oratorio, 
to  whose  names,  occurring  in  the  first  section  of  tliis 
work,  the  reader  is  referred  for  further  information  : — 

Name.  Principal  Works. 

Cavaliere  (1600),  VAnhna  e  Corpo. 

Carissimi  (1580 — 1673),  Jonah  ;  Jephtha,  Sec. 

Schiitz  (1585 — 1672),  Passion;  Resurrection,  &c. 

Keiser  (1673 — 1739),  Bleeding  and  Dying  Jesus. 

J.  S.  Bach  (1685—1750),  Passion  {S.  Matthew  .|-  S.  John). 

Handel  (1685 — 1759),  Messiah,  Israel  in  Egypt,  &c. 

Leo  (1694—1746),  Death  of  Abel. 

Graun  (1701—1759),  Der  Tod  Jesu. 

Stradella  (c  1750),  St.  John  the  Baptitt. 


m.  17, 18.]  Art  Summary.  103 

Navie.  Principal  WorUi. 

Haydn  (1732 — 1809),  Creation:  Seasons. 

Crotch  (1775— 1847),  Palestine;   Caj)tivity. 

Beethoven  (1770 — 1827),  Mount  of  Olives. 

Spohr  (1784—1859),  Cali-ary  ;  Last  Judgment,  &c. 

Mendelssohn  (1809—1847),       M>jah  ;  St.  Pavl. 

Among  the  composers  of  oratorio  of  our  own  day 
may  be  mentioned  :  ^lacfarren  {St.  John  the  Baptist, 
&c.);  Costa  {EU ;  N act  man) ;  Benedict  {St.  Pete)-) ; 
Ouseley  {St.  Polyearp ;  Hagur) ;  Sullivan  {Prodigal 
Son  ;  Light  of  the  World).  The  exquisite  sacred  can- 
tata of  the  late  Sterndale  Bennett  (77ie  Wo)nau  of 
Samaria)  may  justly  be  classed  with  the  oratorio. 

18.  The  Mass,  a  species  of  composition  called  forth 
by  the  requirements  of  the  Roman  liturgy,  is  of  very 
early  date,  and  may  be  divided  into  two  classes  :  the 
first,  Missa  Solemnis,  sung  at  high  celebrations  of  the 
Holy  Eucharist ;  the  second,  Requiem.,  used  at  Mas-es 
for  the  Dead.  The  Missa  Solemnis  generally  consists 
of  the  following  separate  movements  :  Kyrie  Eldison, 
Gloria  in  Excelsis  (usually  subdivided  into  Gloria, 
Domine  Deus,  Quoniam  Tii  Solus,  &c.).  Credo  in 
untwi  Deum  (again  subdivided  into  Credo,  Et  hmarnatus, 
&c.),  Sanctus,  Benedidns,  Agnus  Dei.  The  Eequiem 
Mass  contains,  in  addition  to  the  liturgical  numbers, 
—  the  Gloria,  however,  being  usually  omitted,  —  the 
beautiful  Latin  hymn  known  as  the  Dies  Iroe.  It  is 
seldom  that  the  whole  of  the  Dies  Irce  is  included  in 
the  Requiem,  as  the  performance  of  an  elaborate  setting 
of  every  verse  would  be  too  wearisome.  The  verses 
most  commonly  selected  are  Dies  Iroe,  Tuba  mirum, 
Recordare,  and  Lachrymosa.  At  first  the  Mass  was 
sung  to  an  authorized  plain-song,  which,  as  the  art  of 
counterpoint  developed,  gradually  came  to.be  accom- 
panied by  other  voice-parts,  above  and  below.  Then 
new  melodies,  many  of  them  being,  as  we  have  seen, 
popular  secular  tunes  of  the  period,  were  introduced  as 
subjects  upon  which  the  contrapuntist  might  exercise 
his  ingenuity  in  constructing  canonic  imitations,  and  so- 


104  History  of  Music.  [m.  18. 

called  fugues  (i.  24).  This  abuse  of  the  art  having 
been  denounced  by  the  Council  of  Trent,  Palestrina  at 
once  effected  wonderful  reform  by  means  of  his  noble 
Masses,  of  which  we  have  already  given  some  account 
(i.  29)  For  a  long  period  INlasses  were  sung  without 
any  kind  of  instrumental  accompaniment ;  a  primitive 
kind  of  orchestration  was,  however,  introduced  towards 
the  close  of  the  sixteenth  century.  Since  the  Reform- 
ation, English  composers  have  had  no  opportunity  of 
distinguishing  themselves  by  setting  the  "  Mass."  The 
Communion  Office  of  the  English  Church  is  ill-adapted 
to  an  elaborated  musical  treatment.  The  Kyrie  Eleison 
is  only  a  short  response  repeated  after  each  Command- 
ment ;  the  Benedictus  and  Agnus  Dei,  though  still  used 
without  authority  in  some  churches,  are  unusual  subjects; 
while  the  remainder  cannot  be  split  up  into  detached 
movements.  The  single-voice  setting  known  as  iSler- 
becke's  is  an  adaptation  of  a  traditional  plain-song,  with 
a  number  of  interpolations  by  ISIerbecke  himself.  In 
Roman  Catholic  Churches  the  Mass  has  always  been 
the  principal  function ;  consequently  every  known  re- 
source has  at  all  times  been  employed  to  give  grandeur 
and  solemnity  to  this  portion  of  the  Roman  liturgy. 
The  compositions  of  Mozart,  Haydn,  Beethoven,  Schu- 
bert, and  other  modern  composers  were  therefore  ar- 
ranged for  soli,  chorus,  and  full  orchestra.*  The  princi- 
pal composers  of  this  form  of  work  are  very  numerous, 
and  in  the  following  list  we  do  not  attempt  to  include 
other  than  the  most  notable  amongst  them  : — 

Dufay  (1380—14.30). 
Ockenheim  (1430—1513). 
Des  Pres  (1440—1521). 
Palestrina  (1514—1594). 
Lassus  (1520—1595). 
Byrde  (1543—162.3). 
Allegri  (1580—1652). 

♦  At  St.  Peter's,  Rome,  however,  no  instrumental  accompaniment 
of  any  sort  is  permitted. 


m.  19, 20.]  Art  Summary.  105 

Scarlatti  (1659—1725). 
Fux  (1G60— 1732). 
Caldara  (1678—1763). 
Marcello  (1680—1739). 
Bach  (1685—1750). 
Leo  (1694—1740). 
Durante  (1693—1755). 
Feo  (1699—1750). 
Hasse  (1699—1783). 
Pergolesi  (1710—1736). 
Graun  (1701—1759). 
Haydn  (1732— 1809). 
Webbe  (1740—1816). 
Paesieilo  (1741—1816). 
Naumann  (1741—1816). 
Martini  (1741—1816). 
Zingarelli  (1752—1837). 
Mozart  (1766—1791). 
Cherubini  (1760—1842). 
Beethoven  (1770—1827). 
Hummel  (1778—1837). 
Weber  (1786—1826). 
Rossini  (1792—1868). 
Schubert  (1797—1828). 
Berlioz  (1803—1869). 

19.  But  while  the  English  School  was  deprived  of 
80  complete  a  subject — from  a  musical  point  of  view — 
as  the  Mass,  the  purified  liturgy  of  the  Anglican 
Church  still  afforded  the  musician  ample  scope  for  the 
exhibition  of  his  imagination  and  skill.  There  yet  re- 
mained to  him  the  Te  Deum,  Magnificat,  and  other 
Canticles,  the  Psalms  and  Hymns,  and  that  other  im- 
portant item,  peculiar  to  the  Church  of  England,  the 
Anthem. 

20.  The  Anthem  was  always  regarded  as  the  principal 
feature  of  the  English  "  Cathedral  Service,"  as  it  could  be 
elaborated  at  the  will  of  the  composer,  and  was  generally 
of  two  or  more  movements.  The  words  of  Anthems 
are,  as  a  rule,  taken  from  Scripture  >,  but  sometimes 
portions  of  the  Prayer  Book  (the  Collects  for  instance) 
have  been  used.     Verse  Anthems  are  such  as  contain 


106  History  of  Music.  [m.  20. 

one  or  more  movements  assigned  to  a  single  voice,  or  to 
a  duet,  trio,  or  quartet;  usually  concluding  with  a 
chorus.  There  are  many  instances,  however,  of  verse 
Anthems  in  which  the  only  movements  are  for  solo 
voices.  Full  Anthems  are  those  in  which  the  whole 
choir  may  take  part  throughout.  Verses  are  of  very 
frequent  occurrence  in  Anthems  and  Service-music,  as 
Church  composers  were  naturally  desirous  of  displaying 
the  leading  voices  in  the  Cathedral  or  other  Church 
choirs  under  their  charge.  Some  of  these  "  verses  "  are 
very  elaborate — almost  to  tediousness  ;  a  fair  specimea 
of  this  kind  of  anthem  is  /  u'cis  in  the  Spirit,  .by  Dr. 
Blow.  The  "  verse "  parts  in  Cathedral  music,  with 
the  exception  of  solos,  are  generally  sung  without  ac- 
companiment, while  the  "  full "  portions,  or  choruses, 
are  accompanied  by  an  organ-part,  sometimes  independ- 
ent, but  more  usually  a  mere  "doubling"  of  the  voices. 
Most  of  the  following  composers  of  Anthems  have  also 
written  Service-music,  *'.  e.  settings  of  the  Canticles  and 
Communion  Office ;  and  what  we  have  said  about  the 
Anthem  applies  also  to  the  Service-music  of  our  Cathe- 
drals.* 

Na/nies.  Anthems. 

Tye  (1500 — 1560),  ^IrcUl  exalt  Thee,  kc. 

Tall  is  (1523 — 1585),  j;  I  call  and  cry,  &c. 

Byrde  (1543—1623),  \Boii;  down  Tliine  ear. 

Gibbons  (1583 — 1625),  \Hosanna  to  the  Son  of  David, 

&c. 

Child  (1608—1696),  ^Praise  the  Lord,  O  my  Soul. 

Blow  (16-18 — 1708),  \lbelield,  and  lo,  &c. 


*  The  student  is  recommended  to  procure  as  many  as  he  can 
of  the  Anthems  here  enumerated ;  and  if  he  study  tht  m  in  their 
chronological  order  he  will  gain  a  better  insight  than  any  verbal 
description  will  give  him,  into  the  development  of  form  and  style, 
as  well  as  the  individual  characteristics  of  each  composer. 

t  Anthems  thus  marked  have  been  published  (or  republished) 
within  a  recent  date,  and  are  easily  procurable. 


III.  20,  21.] 


Art  Summary. 


107 


JVames. 

Wise  (d.  1687), 
Purcell  (1658—1695), 
Clark  {d.  1707), 
Akirich  (1G47— 1710), 
Croft  (1677—1727), 
Greene  (1698—175.5), 
Kent  (1700—1736), 
Handel  (1685—1759), 
Weldon  (1708—1736), 
Boyce  (1710—1779), 
Travers  {d.  1758), 
Nares  (1715—1783), 
Battishill  (1738—1801), 
Arnold  (1739—1802), 
S.  Wesley  (1766—1837), 
Crotch  (1775—1847), 
Attvvood  (1767—1838), 
Clarke-Whitfeld, 
Mendelssohn  (1809—1847), 
Walmisley, 

SferndaleBennett(1816— 187 
S.  S.  Wesley  (d.  1870), 
Dykes  {d.  1876), 


AntJiemx. 

Prepare  ye  the  rvay. 
iO  give  thanks. 
^ I  will  love  Thee. 
^0  Praise  the  Lord. 
■\God  is  gone  ujj,  &c. 
fO  Clap  your  hands. 
■fITear  vty  prayer. 

Chandos  Anthems. 
■fJIear  my  crying. 
\By  the  waters  of  Babylon, 
f  Ascribe  nnto  the  Lord: 
^Blessed  is  he  that  eonsidereth. 
■\Cull  to  Remembrance. 
f  Who  is  this  tliat  cometh. 
Y-Thou,  0  God,  art  2>i'aised. 
\How  dear  are  TIty  counsels, 
■fCome,  Holy  Ghost. 
\Behold,  how  good  and  joyful, 
\  Judge  me,  0  God. 
■\F((ther  of  Heaven, 
5),tO  that  I  knew. 
f'J'he  Wilderness, 
■\  These  arc  they. 


Among  the  most  prominent  writers  of  Anthems  and 
Service-music  in  the  present  day  are,  Goss,  E.  J.  Hop- 
kins, Macfarren,  Ouseley,  Elvey,  Sullivan,  Stainer, 
Stewart,  Steggall,  Turle,  Barnby,  Bridge,  Calkin,  Gar- 
rett, Smart,  Thorne,  and  Tours.  Some  modern  Anthems 
have  been  scored  for  full  orchestra,  and  are  more  dra- 
matic and  descriptive  in  style  than  those  of  the  older 
writers. 

21.  Many  pages  might  be  taken  up  with  the  history 
of  the  Hymn-tune,  or  Chorale,  a  species  of  composition 
which,  because  it  is  easily  learned  by  ear,  becomes  the 
special  property  of  the  people,  and  like  an  heirloom, 
is  handed  from  generation  to  generation.  Many  "  Gre- 
gorian "  hymn-tunes  are  in  use  at  the  present  day,  and 
it  is  needless  to  say  that  they  are  of  the  most  ancient 
date  ;  but  their  presence  in  the  hymnals  of  our  day  is 


108  History  of  Music.  [ni.  21. 

due,  not  to  their  having  been  treasured  up  by  the 
masses,  but  to  the  zeal  of  a  few  musical  antiquarians. 
Of  these  about  the  best  are  Urhs  heata,  Jesu  dulcis 
memoria,  and  Corde  natus,  named  respectively  after  the 
first  words  of  the  Latin  hymns  to  which  they  were  com- 
posed. Ex.  17  (par.  13)  will  show  the  commencement 
of  an  ancient  tune  very  familiar  to  those  accustomed  to 
the  use  of  a  certain  Church  hymnal.*  The  scales  iu 
which  these  old  melodies  are  written  are  iU-suiled  to 
the  modern  process  of  harmonization,  and  the  vocal 
hannonies  added  to  many  of  these  "  Gregorian  "  tunes 
are  necessarily  forced  and  disconnected,  leaving  no  im- 
pression of  a  distuict  tonality  —  they  are,  in  short, 
without  beginning  and  "without  end.  For  many  of  the 
old  tunes  which  are  really  and  truly  the  heritage  of  the 
English  and  German  nations  we  are  indebted  to  the 
great  religious  movement  of  the  sixteenth  century 
under  Luther,  who,  with  the  aid  of  Waltlier  and  Gou- 
dimel,  published  the  first  collection  of  chorales  to  words 
in  the  vernacular  (1524).  The  two  chorales,  Ein^  feste 
hurg  id  unser  Gait  (a  strong  tower  is  our  God),  and 
Great  God,  what  do  I  see  and  hear,  are  both  ascribed 
to  Luther,  but  it  is  doubtful  Avhether  he  really  com- 
posed them,  though  he  may  have  arranged  or  harni'm- 
ized  them  for  Walther's  book,  probably  with  some  help 
from  Goudimel  or  Clemens  non  Papa.  "  The  Old 
Hundredth  "  has  been  variously  ascribed  to  Luther,  to 
Goudimel,  and  to  Guillaunie  Franc;  all  that  is  posi- 
tively known  concerning  this  immortal  tune  is  that  it 
was  published  about  the  year  1550.  It  is  by  no  means 
improbable,  hoAvever,  that  it  had  actual  existence,  either 
"  orally  "  or  iu  manuscript,  even  before  that  date.  Many 
of  these  ancit- nt  hymn-tunes  were  doubtless  quotations 
or  adaptations  from  larger  works.  Tallis's  Canon,  well- 
known  in  our  time  in  connection  with  the  Evening 
Hymn,  belongs  to  this  class  : 

•  Hymm  Ancient  and  Modern. 


fll.  21.] 


Art  Summary. 


109 


Ex.21. 


Tallis. 


:?.^^ 


:gb.gz:g:j:gzzjzrjiz:^  , 


piif^ 


I  I     I     p    r 


1 


I  I 

The  canon,  "at  the  octave  below,"  is  between  the 
treble  and  tenor  voices,  and  these  parts  are  given  in 
larger  notes  for  the  sake  of  distinctness.  The  other  two 
parts  serve  to  complete  the  harmony.  Moreover,  if 
the  experiment  be  tried,  it  will  be  found  that  the  Old 
Hundredth  can  be  made,  with  only  three  alterations 
(marked  *),  to  form  a  crude  kind  of  "  canon,  two  in  one 
at  the  octave  below,"  at  the  half-bar  distant 


Old  Hundredth. 


It  will  also  be  observed  that  this  "  canon  "  is  infinite 


110 


Mistory  of  Music. 


[ill.  231. 


or  perpetual,  on  examining  tlie  two  points  J  J.  The 
alterations  (*  and  **)  might  easily  be  accounted  for. 
That  such  a  combination,  crude  as  it  is,  wiU  be  regarded 
in  the  light  of  a  mere  coincidence,  we  can  hardly  anti- 
cipate. The  fact  that  many  of  the  old  masters  were 
accustomed  to  take  fragments  of  chorales  as  subjects  for 
fugal  writing,  would  seem  to  prove  that  these  ancient 
melodies  were  often  originally  composed  with  a  view  to 
canonic  imitation,  more  or  less  strict,  in  the  accom- 
panying voices.  We  might  multiply  instances,  but 
the  following  fragments  will  suffice  for  our  present 
purpose  : 


Ex.  23.    (From  the  Wiirtembergtr  C«o»ifr6«cA— 1583[?].) 


i! 


:a 


^^^=^^- 


^=A- 


(a)  at  8ye  below. 


-G-   -P- 


PfeEJS 


^ 


(/3)  at  8ve  below. 


-p — 


^: 


-p-  & 


m. 


xrm 


:tz:^: 


Esilingen. 


Krikger  (c.  1650). 


^f^^ 


-gj— g— g^ 


I — 7n — G—G>-  ■ 


(y)  at  8ve  above. 

-P-  ^      -^      -G-  -e-  -P-  -P-     -G-  -G-    n     ^ 


\Xi 


m 


m.  21, 22.]  Art  Summary,  111 

KoLNER   GesANOBUCH. 


t=^'- 


fi^ 


:=^z:r 


r 


(S)  at  4th  below. 

Our  modern  hymn-tunes  are  in  too  many  cases  charac- 
terized by  a  straining  after  vivid  effects  in  harmony, 
to  the  exclusion  of  the  flowing  counterpoint  which 
gives  an  unmistakable  grace  and  dignity  to  the  old 
chorale.  It  is  unnecessary  to  attempt  to  catalogue  the 
names  of  composers  of  hymn-tunes ;  the  best  amongs^t 
our  English  writers  will  be  found  amongst  the  com- 
posers of  anthems  mentioned  in  the  preceding  para- 
graph. 

22.  We  now  pass  into  the  dominion  of  secular  music. 
After  the  "folk-songs"  of  the  troubadours.,  which 
had  a  long  and  uncontested  popularity  for  many  ages, 
came  the  Madrigal,  a  kind  of  part-song,  about  the  pre- 
cise origin  of  which  there  has  been  a  great  deal  of 
useless  specidation.  The. term  "madrigal"  has  been 
variously  accoxmted  for,  some  opining  that  it  comes 
from  madre  di  gala,  or  "  mother  of  the  festival  " — in 
allusion  to  the  Virgin  Mary  as  patron  of  the  month  of 
May,  with  its  olden  pastoral  festivities ;  others  that  the 
name  is  derived  from  that  of  the  Spanish  town,  Madri- 
gal, where  one,  Don  Jorge,  an  early  writer  of  "  madri- 
gal" poetry,  lived,  and  whence,  after  the  fashion  of  those 
days,  he  derived  his  surname,  "  de  Madrigal."  Other 
theories  have  been  advanced,  but  they  are  not  even, 
worth  mentioning ;  the  most  feasible  is  that  which 
assigns  the  term  to  the  above  prolific  and  popular 
writer  of  madrigal  poetry ;  for  it  has  been  in  all  ages 
the  custom  to  associate  a  thing  with  the  name  of  a 
noted  producer.  The  earliest  form  of  madrigal,  but 
for  the  secular  words — generally  of  a  pastoral,  or  an 
amorous  character — could  hardly  be  distinguished  from 
the  sacred  motett,  or  anthem.  There  is  little  doubt, 
moreover,  that  for  a  long  period  the  madrigal  was 
written  for  voices  only — it  was  a  chorus,  in  fact,  with- 


112 


History  of  Music. 


[in.  22. 


out  instrumental  accompaniment.  The  madrigal  com- 
posers of  the  Elizabethan  era  greatly  developed  and 
extended  this  form  of  composition,  freely  employing 
canonic  imitation,  and  other  contrapuntal  devices.  The 
ancient  "  Ballets  "  and  "  Fa  las  "  were  also  a  species  of 
madrigal,  hut  were  usually  of  a  more  light  and  trifling 
kind,  and  bore  little  resemblance  in  form  to  the  mad- 
rigal proper.  Some  historians  have  assigned  the  intro- 
duction of  the  madrigal  to  Adrian  Willaert,  chapel- 
master  of  St.  Mark,  Venice,  but  this  is  uncertain ;  at 
all  events  it  is  known  that  his  successor  at  St.  Mark's, 
Cyprian  de  Eore,  devoted  himself  to  this  form  of 
composition,  and  gained  a  high  reputation  for  it.  The 
latter  part  of  the  sixteenth  century  was  the  golden  age 
of  the  madrigal,  particularly  in  England,  under  the 
reign  of  Elizabeth,  who  fostered  music  no  less  than  the 
other  liberal  arts.  The  Triumphs  of  Oriana,  dedicated 
to  Queen  Elizabeth,  is  the  finest  collection  of  madrigals 
extant  (i.  27).  The  best  of  these  are  popular  even  in 
the  present  day.  Luca  Marenzio,  a  friend  of  Dowland, 
was  one  of  the  most  accomplished  among  the  many 
Italian  madrigalists  of  the  sixteenth  century.  The 
madrigal,  Dissi  a  Tamnta,  quoted  in  extenso  by  both 
Hawkins  and  Crotch,  opens  as  follows  : — 

Ex.  24.  Marekzio. 


r*r^.*iii^ 


OE 


-G- ■**-      -G- 


i^l 


^^■ 


=ir7^l  I 


III.  22.] 


Art  Summary. 


113 


T±-. 


f=T-^^fA^-v^-==^ 


The  above  is  a  compression  of  the  vocal  score  ;  the 
madrigal  pure  was  not  accompanied  as  a  rule,  though 
indeed  there  are  many  madrigals  extant  with  basso 
continuo,  or  bass  figured  for  lute  or  harpsichord.  The 
modern  "  madrigal  "  is  hardly  distinguishable  from  the 
"  part-song ; "  i.  e.  it  contains  a  continuous  melody,  and 
is  generally  provided  with  a  pianoforte  accompaniment. 
The  following  is  a  sufficiently  comprehensive  list  of  the 
chief  madrigal  cnmposers,  and  the  madrigals  men- 
tioned are  those  of  especial  note  at  the  present  day  : — 


Name. 

Willaert  [?]  (1490—1563), 
Festa  {d.  1545), 

De  Rore  (c.  1580). 
Talestrina  (1514—1594). 
R.  Edwardes  (1520—1566), 
Marenzio  (1550 — 1594), 
Byrde  (154.S— 1623). 
Wilbye  0560-1612), 
Dowlaud  (1562—1626), 
Morley  (1563  —  1604), 
Benet  (15C5— 1605), 
Gibbons  (1583—1625), 


Madrigal, 

Qtiando    ritrovo    (Down  in   a 
flowery  vale). 


In  going  to  my  lonely  bed. 

DLixl.  a  Vamata. 

While  the  bright  snn. 

Flora  gave  me  fairest  florcert. 

Aivahe,  sweet  love. 

My  bonny  lass. 

Ye  restless  thoughts. 

Oh  tliat  the  learned  jpoeti. 


114  Histonj  of  Music.  [iii.  22,  23. 

After  Gibbons  the  madrigal  deteriorated,  and 
though  T.  Linley,  W.  Horsley,  W.  Callcott,  and  R.  L. 
Pearsall  have  contributed  some  excellent  models,  this 
species  of  composition  may  be  regarded  as  belonging  to 
the  past. 

23.  The  Glee  was  an  offshoot,  or,  more  correctly,  a 
later  development  of  the  madrigal.  While  the  latter 
consisted  of  only  one  movement,  the  glee  had  two, 
three,  and  four.  The  glee  was  also  written  for  solo 
voices  in  each  part,  and  therefore  was  capable  of  much 
greater  style  and  finish  than  the  madrigal,  which  was 
designed  for  the  chorus.  In  the  present  day  the  glee 
is  more  poptihir  than  its  precursor,  doubtless  because 
the  style  of  the  former  is  in  greater  accordance  with 
the  requirements  of  modern  art.  The  glee  is  now 
frequently  sung  by  modem  choral  societies,  by  which 
means,  although  some  of  these  bodies  are  highly 
trained  and  capable  of  putting  great  expression  into 
the  music  they  sing,  the  real  charm  of  the  glee  is  lost. 
At  one  time  Rounds  and  Catches  were  the  most  popular 
"  domestic  music  "  in  vogue,  and  many  of  these  catches 
were,  in  fact,  glees  in  which  a  punning  expression  was 
given  to  the  words.  To  this  day  glees  are  divided 
into  two  kinds — the  ?erious  and  the  cheerful — though 
the  latter  does  not  necessarily  imply  a  playing  upon 
words.  The  father  of  the  English  glee  Avas  Thomas 
BreAver,  whose  Turn  Amaryllis  is  still  a  favourite  at 
the  glee-clubs.  The  Avriters  of  glees  have  been  so 
numerous  that  we  cannot  give  more  than  the  leading 
glee-composers  in  the  following  list : — 

Name.  Glees. 

T.  Brewer  (1609—1676),  Ttirn  Amaryllis. 

T.  Arne  (1710 — 1778),  Which  isthej}roperestday,ko, 

S.  Webbe  (1740—1816),  IVhen  n-inds  breathe  soft' 

Stafford  Smith  (1750— 1836),  Blest  pair  of  sirens. 

K.  J.  S.  Stevens  (1723—1837),  Sigh  no  more,  ladies. 

Dr.  Callcott  (1766—1821),  The  Bed  Cross  Knight. 

B.  Spoflforth  (1770—1827),  Hail,  smiling  morn. 


III.  23 — ^25.]  Art  Summary.  116 

Navie.  Olees, 

W.  Horsley  (1774—1858),  By  Celia'g  Arbour. 

Sir  H.  Bishop  (1782—1855),        I  gave  viy  Harp. 

Sir  J.  Goss  (b.  1800),  Oasian's  Hymn  to  the  Sun. 

24.  Our  first  section  contains  a  brief  account  of  the 
rise  of  the  Opera  (par.  32),  and,  so  far  as  it  goes,  there 
is  little  to  add  here.  It  is  to  be  noticed,  however,  that 
many  composers  of  later  periods  considered  the  sub- 
jects of  the  primitive  operas  worthy  of  further  experi- 
ment. Dafne,  Euridice,  and  Orfeo  have  received  new 
interpretations  since  the  times  of  Peri,  Caccini,  and 
Monteverde — the  Daphne,  for  instance,  of  Schiitz  and 
of  Handel,  and  the  Orfeo  of  Gluck.  From  the  year 
1594,  the  date  of  the  production  of  Peri's  Dafne,  to 
the  year  1627,  the  opera  appears  to  have  been  confined 
exclusively  to  Italy,  its  native  home.  In  1627,  how- 
ever, Schiitz'  Daphne  formed  the  introduction  of  opera 
into  Gei-many,  which  has  since  done  to  much  for  this 
branch  of  the  art.  In  1645  Italian  opera  was  intro- 
duced into  France  under  the  auspices  of  Cardinal 
Mazarin,  but  the  first  French  opera  Avas  that  of  Cam- 
bert  {La  Pastorale),  composed  in  1659.  England 
follows  very  closely  upon  France,  for  in  1673  was  pro- 
duced the  Psyche  of  Lock. 

25.  A  complete,  though  concise,  history  of  the  opera 
would  fill  a  volume  like  the  present,  and  an  account 
of  Italian  opera  alone  would  occupy  three-fourths 
of  the  space.  Our  remarks  upon  Italian  opera  must 
therefore  be  very  sparing,  and  we  shall  not  unneces- 
sarily repeat  any  statements  made  in  former  sections, 
which  may  be  readily  referred  to  upon  occasion  by 
means  of  the  General  Index.  From  the  date  of  its 
inauguration  under  Peri  and  Caccini,  the  opera  in  Italy 
has  not  ceased,  up  to  the  present  day,  to  keep  pace 
with  the  general  progress  of  the  art.  The  vocal 
features  of  the  opera  are  now,  and  have  always  been, — 
as  in  the  case  of  the  oratorio, — the  recitative,  the  aria, 


116 


History  of  Music. 


[hi.  25. 


the  duet  (and  occasionally  the  trio,  quartet,  quintet,  &c.), 
and  the  chorus.*  The  instrumental  accompaniments, 
the  overture,  and  the  interludes  (entr'actes)  or  sym- 
phonies, "were  also  in  the  earlier  days  of  the  opera 
very  similar  to  those  of  the  oratorio.  By  degrees,  how- 
BA'er,  the  similarity  to  the  oratorio  as  regards  both 
style  and  treatment  became  less  and  less,  and  at  this 
time  the  oratorio  and  the  opera  have  little  in  common. 
It  is  in  the  works  of  Monteverde  that  the  first  signs  of 
a  greater  freedom  in  the  treatment  of  secular  subjects 
are  apparent ;  witness  the  f ollowmg  extracts — portions 
of  recitative  and  duet  from  his  Orfeo  : — 


':i 


Ex.  25.    {Apollo  descends  in  a  cloud,  sinking.) 


Monteverde. 


s^v^iv 


U-jT— — IV—! ^-=  SS- 


^ 


-^-\-t 


-r~K 


Perch'  a      lo   sdegno       ed  al  do  -  lor  in  pre  -  da       Co  - 


-& — o--»- 


-■==P5¥ 


tfcix 


-s>— P— <©-T-©^ 


'P~f^ 


4= 


si    ti  do-nio 


-    lio?     Non  h    non  6    con-aig-lio?  ^^ 


es 


■=T- 


Ex.  26.    (Apollo  and  Orfeo  ascend  to  heaven,  singing.)    Monteverde. 


r  II  .  _    I 


U 


Saliam, 


Saliam, 


1H-H i-^- 


ai 


:!!±a:Bi3ii7,:«*ii»^?i 


f£e^ 


*  Even  the  Chorale  has  been  introduced,  when  suited  to  the 
scene  or  occasion. 


III.  25.] 


Art  Summary. 


117 


+i-H — '  •  ■  i  '  '  '      '  '  '   — • — •-■ — • — •  -  -  •a*-*-*-  •-•-•w-.mV 


1^- 


— F- 


Af ter  Monteverde,  the  next  great  light  of  the  Italian 
opera  was  A.  Scarlatti,  known  as  the  founder  of  the 
so-called  Neapolitan  School.  His  operas,  Carlo  Re 
d'Almagna,  II  Giro,  and  others,  were  an  immense 
advance  upon  their  predecessors,  and  obtained  for  him 
the  first  place  among  the  opera-composers  of  his  day. 
His  style  would  now  be  considered  stilted  and  con- 
ventional, but  they  have  decided  form,  and  mark  an 
epoch  in  the  development  of  the  aria.  Lotti  and 
Secchini  were  the  immediate  successors  of  Scarlatti, 


118  History  of  Mttsic.  [iii.  25. 

while  Piccini  was,  as  we  know,  the  favoured  champion 
of  the  Italian  school  in  France.  Gluck,  Hasse,  Mozart, 
and  other  (^erman  composers  contributed  largely,  if 
not  mainly,  to  Italian  opera;. while  Handel,  German 
as  he  was  by  nationality,  was  essentially  Italian  in 
opera.  Gluck  in  his  later  operas  (i.  45,  46),  such  as 
Orfeo  and  Alceste,  was  the  first  to  break  from  the  estab- 
lished lines,  and  the  Zauherflote  of  Mozart  is  generally 
looked  upon  as  the  pioneer  of  a  distinct  German  school 
of  musical  dranla.  The  little-known  Ewnjanthe  of 
"Weber  is  still  more  decidedly  "  German,"  but  Richard 
Wagner  has  gone  beyond  all  others  in  the  noted 
"Tetralogy"  of  1876.  Wagner  has  initiated  a  com- 
plete revolutif.n  in  opera,  discarding  the  set  airs,  and 
substituting  for  them  a  modernized  musica  parlante, 
or  recitative.  He  declines  to  write  melodies  for  the 
purposes  of  more  vocal  display.  The  old  traditions  as 
to  the  "related  keys"  are  cast  aside  Avithout  com- 
punction. In  short  he  makes  music  entirely  subservient 
to  the  dramatic  element.  With  him,  the  libretto  is 
no  longer  a  .species  of  lay  figure  upon  Avhich  to  hang 
any  kind  of  musical  drapery  or  embroidery  that  the 
composer  may  fancy  or  the  singer  desire.  Wagner 
composes  his  own  libretti,  and  this  fact  illustrates  the 
fundamental  principle  on  which  he  works,  and  of 
which  he  is  so  strenuous  an  advocate.  This  principle 
is,  that  the  music,  the  poetry,  and  the  mise-en-scene  of 
an  opera  should  each  aid,  not  over-weight  the  other, 
and  thus  unite  to  produce  the  desired  dramatic  effect. 
The  old  opera  may  be  regarded,  on  the.  other  hand,  as 
a  collection  of  vocal  and  instrumental  compositions  or 
numbers,  each  complete  in  itself  as  to  form,  and 
strung  together  by  the  story  of  the  libretto.  In  fa(  t, 
Wagner's  dramatic  music  is  so  far  removed  from  that 
which  for  ages  has  been  known  as  "  opera,"  that  it  has 
been  diflicult  for  musicians  or  the  public  to  connect  the 
former  with  the  latter.  They  therefore  say  "  this  is 
not  opera,"  and  some  few  add  "  nor  even  music."   It  is. 


III.  25.]  Art  Summary.  119 

however,  to  be  remembered  that  no  musician  has  ever 
ventured  upon  a  new  path  without  bringing  upon  him- 
self and  his  work  the  doubt,  suspicion,  or  conteiDpt  of 
tlie  majority  of  his  ccntemporarif  s,  Avho  are  naturally 
satisfied  with  what  their  predecessors  and  themselves 
have  done.  In  sucli  cases  it  is  posterity  which  assigns 
to  a  musician  or  thinker  (a  composer  must  be  both)  his 
rightful  place  in  tlie  realm  of  art.  If  we  view  the 
subject  from  Wagner's  new  standpoint,  all  previous 
opera  can  only  be  regarded  as  of  the  Italian  type, 
whether  produced  by  Itnlian,  German,  Fiencli,  or 
English  composers.  Thus,  the  opeias  of  Purcell, 
though  the  words  are  Eng  ish,  were  avowedly  con- 
structed upon  Italian  models,  and  the  same  may  be 
said  of  the  works  of  eveiy  English  composer  of  opera, 
from  Lock  1o  Balfe.  In  short,  the  success  of  the 
English  compost r  has  been  in  proportion  to  his  power 
of  assimilation  to  the  Italian  style.  To  the  French 
composers,  from  Canibert  to  Gounod,  though  many 
splendid  works  have  been  produced,  we  may  apjdy  the 
same  terms.  Germany,  however,  may  claim  the 
hononr  of  effecting  most  of  the  improvements  which 
are  now  universally  accepted  as  essentials.  Gluck's 
Orfeo,  Mozart's  Zauherjiute,  Weber's  Ewryanthe, 
Wagner's  Lohengrin,  are  so  many  landmarks  in  the 
development  of  opera;  and  such  a  view  is  not  incon- 
sistent with  the  conviction  that  the  works  of  Purcell 
or  Handel  in  the  past,  and  of  Verdi  or  Gounod  in  the 
present  are  important  contributions  to  musical  art. 
The  following  are  the  most  celebrated  opera-composers 
of  every  school,  and  further  information  respecting 
each  may  be  gained  on  reference  (by  means  of  the 
General  Index)  to  the  name  wherever  it  occurs  in  our 
first  section  : — 

A'ame.  Principal  Works. 

Peri  {c.  1600),  Lufne. 

Caccini  (r.  1600),  Euridice* 

*  Jointly  with  Peri. 


120 


History  of  Music. 


[ill.  25. 


Ndine. 

Monteverde  (1566—1650), 

Schiitz  (1585—1672), 

Cambert  {c.  1659), 

Lock  (1620—1677), 

Lully  (1633—1687), 

Henrj'  Purcell  (1658—1695), 

Lotti  (1660—1740), 
A.  Scarlatti  (1659—1725), 
Keiser  (1673—1739), 
Rameau  (1683—1764), 
Handel  (1685—1759), 
Leo  (1694—1745), 
Basse  (1699— 1783^ 
Clayton  {c.  1700), 
Graun  (1701—1759), 
Pergolesi  (1710—1736), 
Arne  (1710— 1778), 
Boyce  (1710—1779), 
D'Auvergne  (1713  —  1797), 
Gluck  (1714  —  1787), 
Benda  (1722—1795), 
J.  A.  Miller  (1728—1804), 
Piccini  (1728—1800), 
Monsigny  (1729—1817), 
Arnold  (1739—1802), 
Gretry  (1741—1813), 
D'Alayrac  (1753—1809), 
Mozart  (1756—1791), 

Cherubini  (1760—1842), 
Storace  (1763— 1796), 
Mehul  (1763—1817), 
Himmel  (1765—1814), 
Barton  (1766—1844), 
Beethoven  (1770—1827), 
Catel  (1773—1830), 
Boieldieu  (1775— 1834), 
Isouard  (1777—1818), 


Principal  Worki, 

Orfeo,  Arianna,  SiC. 

Daphne. 

La  Pastorale. 

Psyche.* 

Tragedies  Lyjnqvex. 

Dido  and  ^neas,  King  Arthur, 

&c. 
Various, 

Carlo  Re  d'' Almagna. 
More  than  100  operas. 
Castor  and  Pollux. 
Almira,  liinaldo,  &c. 
Olympiade. 
Various. 

Arsinoe,  Rosamiind. 
Various. 
Farious. 

23  Operas  {Artaxerxes,  &o.). 
The  Cliaplet. 
Les  Troqiieurs. 
Orfeo,  Alceste.  Armide,  &c. 
Ariadne  auf  J^axos,  Medea. 
Liederspielc. 
Roland,  &:c. 

Rose  et  Colas,  Le  Desei'tetir. 
40  English  Operas. 
Zemire  et  Azor,  &c. 
Les  Deux  Savoyards. 
Don  Giovanni,  Figaro,  Zavber- 

fiote,  &c. 
Les  Deux  Joumees.  Medea,  &c. 
14  English  Operas. 
Joseph,  Euphrosyne. 
Fanchon, 

Ponce  de  Leon,  &c. 
Fidelia  {Leonora). 
Semirainis. 
La  Dame  Blanche. 
Cendrillon. 


*  The  "Celebrated  "Macbeth  Music"  has  recently  been  claimed 
for  Purcell. 


HI.  25,  26.] 


Aj't  Sumfnary. 


121 


Name, 

Auber  (1782—1871), 
Sir  H.  Bisliop  (1782—1855), 
Spohr  (1784—1859), 
Spontini  (1784—1851), 
Weber  (1786—1826), 

Herold  (1791—1833), 
Rossini  (1792—1868), 

Meyerbeer  (1794—1864), 
Schubert  (1797— 1828), 
Donizetti  (1797—1868), 
Halevy  (1799—1862), 
Bellini  (1802—1835), 
Berlion  (1803—1869), 
Sir  J.  Benedict  {b.  1804), 

Balfe  (1808—1870), 
Mendelssohn  (1809—1847), 
Schumann  (1810—1856), 
Flotow  {b.  1811), 
Wagner  {b.  1813), 

Wallace  (1814—1865), 
Verdi  {b.  1814), 
Gounod  (b.  1818), 
Ambroise  Thomas 
Offenbach 


Principal  Works. 

Fra  Diavolo,  Masaniello. 

Miller  and  his  men,  Sec. 

Faust,  Jessonda. 

La  Vest  ale. 

Der  Freischiitx,  Preciosa, 

Euryanthe. 
Zampa. 

Gvglielmo    Tell,    Semir amide, 

&c. 
Le$  Huguenots,  V Africaine. 

Jtosamvnde  (incidental  music), 

Lucrezia  Borgia,  Lncia,  &c. 
La  Juive,  Les  Monsquetaires. 
Norma,  La  Sonnambula. 

Benvenvto  Cellini. 

Gipsy's  Warning,  Lily  of  Kil- 

larney. 
Bohemian  Girl,  Talisman. 

Wedding  of  Cuinacho,  Sec. 

Genevieve. 

Marta. 

Tanjihduser,  Lohengrin,   NibO' 
lungen. 

Maritana,  L^irUne. 

11  Trovatore,  Rigoletto,  Aida. 

Faust,  Romeo  et  Juliet. 

Mignon,  Hamlet. 

Orphie  aux  Fnfers,  &c. 


26.  The  following  brief  chronological  summary  of 
the  rise  and  progress  of  Opera  will  further  assist  the 
student  : — 

Society  of  Literati  established  in  Florence  for  the 
purpose  of  reviewing  "  the  auctent  Greek  art  of 
musical   and   dramatic    declamation "   [inusica 
parlante)  ...  ...  ...  ...   (c.)  1580 

First  opera,  Dafne,  by  Peri,  libretto  by  Rinuceini  ...  1594 

Eiiridice,  by  Peri  and  Caccini  ...  ...  ...  1600 

Monteverde  gives  a  more  pronounced  form  to  the 

Opera,  and  produces  Orfeo,  &c.         ...  ...  (c.)  1650 

Introduction  of  the  Opera  into  Germany — Schiitz' 

Daphne  ...  ...  ...  ...  1627 


122                     History  of  Music.  [iii,  26. 

Opera  introduced  at  Venice       ...              ...              ...  1637 

Italian  Opera  introduced  into  France  under  Mazarin  1645 

Opera  introduced  at  Naples       ...              ...              ...  1647 

First  French  Opera,  La  Pastorale,  by  Canibert      ...  1659 
Improvement  of  the  Recitative,  by  Carissimi,  Inven- 
tion of  Arioso     ...             ...              ...             ...  (f.)  1660 

[Orchestra  of  the  period,  "  small  French  violin,"  tenor 
and  bass  viols,  harpsicliord,  theorbo,  flute  a  bee, 
trumpets,  trombones,  &c.] 

Opera  introduced  at  Rome         ...              ...              ...  1671 

First  English  Opera,  Psyche,  by  Lock     ...             ...  1673 

LuUy,  the  supposed  originator  of  the  overture,  which 
he  composed  in   two  movements,  Adagio  and 
Allegro  ...  ...  ...  ...  (e.)  1680 

Purcell  composes   Tlie  Tempest,  and  other  English 

Operas                 ...              ...              ...              ...  1690 

A.  Scarlatti  develops  the  Aria,  giving  it  what  is  now 

known  as  the  "ancient  binary"  form  ...  (c.)  1700 

Handel's  first  Opera,  Almira,  at  Hamburg               ...  1705 
Italian  Opera  introduced  into  England ;  performance 
of  Arsinoe  (with  English  words,  however,)  at 

Drury  Lane        ...              ...              ...              ...  1706 

Eevival   of    Italian   Opera    in    England — Handel's 

Pa daviistvs  produced        ...              ...              ...  1720 

Handel's  new  Opera  Company  started      ...              ...  1729 

Gluck's  first  Opera,  Artaxerxcs,  produced  at  Milan  1741 
Gluck  visits  England ;    writes  operas  for  the  Hay- 
market  Opera  House          ...              ...              ...  1745 

Hasse  writes  for  the  German  stage,  but  on  Italian 

models  ...  ...  ...  ...  (c.)  1750 

ie«  ^OM^'ow.?  appear  in  France                 ...             ...  1752 

Production  of  Gluck's  Orfeo  at  Vienna    ...             ...  1764 

Gluck  goes  to  Paris   ...              ...              ...              ...  1773 

The  "Gluckist  and  Piccinist"  factions  in  Paris      ...  1776 

Mozart's /<fo/«cneo  produced  at  Munich  ...              ...  1781 

Metastasio,  the  celebrated  poet  and  Opera  librettist, 

dies     ...              ...              ...              ...              ...  1782 

Mozart's  2)o/i  ^i'MvzwMi  first  performed  ...              ...  1787 

Mozart's  Zauberfliite  first  performed  at  Vienna       ...  1791 
Arue,  Arnold,  Storace,  and  others  produce  a  number 

of  English  Operas  ...  ...  1750—1800 

Cherubini's  Les  Peux  Jawnees  produced                 ...  1800 

Beethoven's  Leonora  produced  at  Vienna                 ...  1805 

Leonora  reproduced  as  Fldelio,  with  new  overture  1814 


ni.  26,  27.]  Art  Summary.  125 

First  performance  of  Spohr's  Faust,  at  Prague       ...  1816 

Weber's  Der  Freischiitz  and  Preciom  produced     ...  1820 

[Weber  is  supposed  to  have  set  the  fashion  of  incorpor- 
ating principal  airs  of  the  opera  in  the  overture.] 
Meyerbeer's  Ze«  i/(/^«e?iofs  produced      ...  ...  1836 

Wagner's   Nihehnigen    (Tetralogy)    produced   at   a 

public  festival  in  Bayreuth,  Germany  ...  1876 

27.  "We  have  hitherto  restricted  our  attention  to  the 
development  of  vocal  music,  accompanied  or  unaccom- 
panied. We  now  turn  to  the  consideration  of  purely 
Instrumental  Music,  a  very  wide  branch  of  our  subject, 
as  it  ranges  from  the  pianoforte  morceau  to  the  elabor- 
ated symphony — from  the  "  solo  instrument  "  to  the 
"  full  orchestra."  The  independent  employment  of 
instrumental  music  dates  from  a  very  early  period. 
The  Egyptian  monuments  show  that  bands  of  harps 
and  other  instruments  existed  in  almost  pre-historic 
times ;  certainly  we  can  form  no  idea  of  the  style  or 
effect  of  the  concerted  music  produced  by  these  ancient 
minstrels.  In  the  latter  days  of  the  old  Grecian 
empire  there  sprang  up  a  race  of  flute-players,  but  we 
are  equally  ignorant  as  to  the  nature  of  their  perform- 
ances. In  the  earlier  ages  of  ihe  Chiistian  era  instru- 
ments were  generally  used  as  an  accompaniment  to  the 
voice ;  in  fact  the  history  of  modern  instrumental 
music  as  a  distinct  art,  and  as  we  now  understand  it, 
does  not  commence  until  about  the  sixteenth  century. 
It  is  true  that  Royalty  had  its  private  bands  as  well  as 
its  vocalists,  at  a  much  earlier  date,  but  if  we  except 
the  startling  "  pibroch  "  of  the  Scottish  bagpipes,  the 
precise  natuieof  the  music  performed  is  practically  lost 
to  UR.  Probably  the  reiiertoire  of  these  old  bands — 
such  as  the  band  of  weyghtes  or  hautboys  employed  by 
Edward  III.  of  England — consisted  only  of  dance-tunes 
and  the  well-worn  airs  of  popular  songs.  ^Nevertheless 
these  ancient  dance-tunes  may  be  regarded  as  supplying 
the  germs  of  some  of  the  most  elaborated  forms  of 
modem  composition.     The   corauto,  the  gavotte,  the 


124 


History  of  Music. 


fill.  27. 


gigiis,  the  sarahande,  the  aUemande,  the  galUard,  were 
all  ancient  dances,  afterwards  made  "  classical "  by  the 
studies  of  Corelli,  Bach,  Purcell,  and  other  illustrious 
composers  of  the  seventeenth  and  eighteenth  centuries. 
The  suiteS'des-pieces  of  these  writers  consisted  of  sets  of 
three,  four,  or  even  a  greater  number  of  movements 
modelled  upon  these  old  dance-forms,  and  grouped  to- 
gether with  a  due  regard  to  contrast  betAveeu  the  pace 
or  measure  of  each  kind  of  dance.  The  following  short 
extracts,  taken  from  various  sources,*  will  give  the 
reader  some  idea  of  the  principal  dance-form«  utilized 
in  these  suites : — 


Ex.  26.     CoRANTO.    (Lively.) 


Whitelockh. 


Ex.  27.    Allbmaxdk.    (Stow.) 


DCMONT. 


*  "We  should  make  special  acknowledgment  of  the  following  ; 
Hawkins'  History  of  Music  ;  Stainer  and  Barrett's  Dictionary  of 
Musical  Terms. 


III.  27.] 


Art  Summary. 


125 


_^-^_-_ -^^ ^ jhT^ 

^^^-1 I  i  i  i— ^^f-r-H 1-*— : ^^^i^u — - 

£4r-     ti ^*S k^-+^ ■        F  I      *+-•-■ Z 1 i 


eHE**:^:::^!^ 


'-P=:i=--t=F 


Ex.  28.    Gavotte.     From  tJie  suite  {for  Orchestra)  in  D.     J.  S.  Bach. 


^-^^- 


:^: 


:=^=^ 


~JC21 


-'-Gil— 

zzjd 


^^M 


Allegro.    J 


Sg 


■-^-  -»-^    -•- 


l::=t: 


^^ 


i 


■# 

-?#-•=; 


• J-H PH H 1 1 1 i^ 1 ■-+ 


1 1        I 
ji.    .4. 


^-^-  -•---•- 


^¥£ 


ti±=t 


•F-#-F— t- 

^ — 1 — \ — W- 


FRESCOBALDr. 


Ex.  29.    Galliaru.    {Lively.)  »  . ,^„„„ 

g=:irr-«--g gz  :i|^  — * -^ 


'-^ 


ft=^f-+ 


_4_ 


-&      11 — 


Pi 

I 
I 


^=S=rii|p: 


^&^»^^ 


-r-^-r-t— i 


&c. 


BEE° 


?2:v-prz:^ 


i^fzETEjEfel 


-O— J 


126 


GiouE  or  Jig. 

_,_ p. 


History  of  Music, 

{Lively.) 


[in.  27. 


ECCLES. 


aiziSE?: 


=Z3: 


-2--± 


•^  -i — I     r    — 1 — 


&c. 


BlAz^. 


:??: 


riit:; 


-o  •- 


-2^— 


Ex.  31.     Sababande.     (Stow  and  stately.) 


Pdrcell. 


ae±^ 


&c. 


I 


-Jtzz:.: 


r  r 


Other  dances  were  the  Bourree,  CariUon,  Cfhaconne, 
Cotillon,  Minuet,  Passepied  (a  variety  of  the  minuet), 
Polacca,  Pavaine,  Passecaille,  Musette,  Tarentelle, 
Hornpipe  (a  species  of  gigue),  Rigadoon,  &c.  Most  of 
these  dances  were  in  use  in  the  times  of  EHzabeth  and 
Louis  XIV.,  Avhile  the  minuet  and  the  gavotte  remained 
fashionable  at  Court  for  a  long  time  afterwards.  The 
suites  were  written  principally  for  the  harpsichord,  but 


III.  27 — 29.]  Art  Summary.  127 

also  for  strings,  and  for  the  organ.  Many  suites  were 
arranged  for  violins  and  harpsichord,  with  a  basso 
continuo,  or  figured  bass  for  the  latter.  Among  the 
most  distinguished  writers  of  suites  are  Corelli,  Bach, 
Purcell,  Handel,  Couperin,  Kiihnau,  Domenico  Scarlatti, 
Alberti,  &c. 

28.  Lutes  and  viols  (of  which  more  hereafter)  were 
long  employed  only  as  accompaniments  to  the  voice. 
Hawkins  writes  :  "  Concerning  compositions  of  many 
parts  adapted  to  viols,  of  which  there  are  many,  it  is  to 
be  observed,  that  when  the  practice  of  singing  mad- 
rigals began  to  decline,  and  gentlemen  and  others  began 
to  excel  in  their  performance  on  the  viol,  the  musicians 
of  the  time  conceived  the  thought  of  substituting 
instrumental  music  in  the  place  of  vocal ;  and  for  this 
purpose  some  of  the  most  excellent  masters  of  that 
instrument,  namely  Dowland,  the  younger  Ferabosco, 
Coperario,  Jenkins,  Dr.  Wilson,  and  many  others, 
betook  themselves  to  the  framing  compositions  called 
Fantazias,  which  were  generally  in  six  paits,  answering 
to  the  number  of  viols  in  a  set  or  chest,  ....  and 
abounded  in  fugues,  little  responsive  passages,  and  all 
those  other  elegancies  observable  in  the  structure  and 
contrivance  of  the  madrigal."  As  we  have  seen,  viols 
were  afterwards  employed  in  suites-des-pieces. 

29.  It  is  to  the  suite  that  we  owe  the  Sonata,  justly 
regarded  as  one  of  the  highest  forms  of  composition. 
The  primitive  sonata,  however,  is  scarcely  to  be  identi- 
fied with  the  class  of  composition  now  bearing  that 
name.  Those  of  Frescobaldi  and  others  of  this  time 
are  mostly  single  movements,  and  are  sometimes  called 
Canzone.  In  Purcell's  time  the  sonata  generally  con- 
sisted of  three  or  more  movements ;  the  celebrated 
Golden  Sonata,  for  two  violins  and  a  figured  bass  (by 
Purcell),  is  in  five  movements — Largo,  Adagio,  Canzona* 
Allegro,  Grave,  and  Allegro,  all   (except   the   fourth 

*  The  term  Canzona  is  to  be  noted  here. 


128  History  of  Music.  [in.  29. 

movement,  which  is  in  the  relative  minor)  being  in  the 
key  of  F.  The  Sonata  di  Chiesa,  belonging  to  about 
the  same  period,  consisted,  as  the  name  implies  {Church 
Sonata),  of  slow  and  solemn  movements,  mostly  adapted 
to  the  organ,  while  the  secular  and  more  lively  com- 
position was  denominated  Sonata  di  Camera  (Chamber 
Sonata).  The  movements  usual  in  the  modern  Sonata 
are,  1.  The  Allegro.  This  is  the  nmst  important  of  all 
as  to  its  form,  which  is  of  the  kind  commonly  called 
Sonata,  or  more  correctly.  Binary  ;  i.  e.  it  consists  of 
two  subjects  or  themes,  the  first  in  the  tonic,  the 
second  in  the  dominant, — or  relative  major  if  the  first 
theme  be  in  a  minor  key, — and"  the  development  and 
recun'ence  of  these  two  themes  are  to  a  great  extent 
guided  by  established  rules,  though  much  is  left  to  the 
individual  skill  and  style  of  the  composer.  The 
modern  binary  form  was  developed  by  Haydn  ;  after 
him  came  Mozart ;  while  Beethoven  perfected  it  in  his 
well-known  sonatas  and  symphonies.  2.  The  Andante 
or  Adagio.  This  movement,  usually  with  one  principal 
theme,  cantahile,  is  generally  in  a  related  key  other  than 
that  of  the  dominant ;  e.  g.  if  the  first  movement  be 
written  in  the  key  of  C,  the  Andante  may  be  in  F. 
3.  The  Minuet  or  Scherzo.  The  latter,  a  more  vigorous 
movement  than  the  Minuet,  was  introduced  by  Beet- 
hoven. 4.  Allegro  or  Presto.  This  is  written  in  the 
original  key  (the  same  as  that  of  the  first  movement) 
and  is  generally  of  a  freer  character — the  Rondo  form, 
consisting  of  only  one  principal  theme  of  somewhat 
frequent  recurrence.  But  the  forms  of  these  after- 
movements  are  not  so  essential  to  the  sonata  as  that  of 
the  first.  In  some  compositions  the  second  and  last 
movements  will  be  found  to  be  written  in  strict  binary 
form  ;  while  in  others  even  the  first  movement  will  be 
found  wanting  in  the  essentials  of  the  "  sonata  "  proper. 
Thus,  the  first  movement  of  Beethoven's  popular 
"  Sonata  in  A  flat "  (Oj).  26)  is  nothing  more  than  an 
*'  air  Avith  variations  • "  while  the  sonatas  of  Schubert  are 


m.  29.]  Art  Summary.  129 

particularly  erratic  as  to  form.  Sonatas  have  been  written 
for  the  violin,  the  organ,  the  harpsichord  or  pianoforte, 
and  for  other  instruments  ;  the  following  are  the  names 
of  the  principal  composers  who  have  written  for  the 
harpsichord,  and  later  on  for  the  pianoforte  : — 

Suites  and  (^Early')  Sonatas  for  Harpsichord. 

Graziani  (1609—1672). 
Cesti  (1624—1675). 
Lully  (1634—1687). 
Biber  (1648—1698). 
Corelli  (1653—1713), 
Purcell  (1658—1695). 
A.  Scarlatti  (1659—1725). 
Kiihnau  (1667—1722). 
Buouoncini  (1672—1750). 
Albinoni  (1674—1745). 
Mattheson  (1681—1722). 
D.  Scarlatti  (1683—1757). 
Durante  (1684—1755). 
J.  S.  Bach  (1685—1750). 
Handel  (168.5—1750). 
Alberti  (1705—1745). 
Boyce  (1710— 1779). 
W.  F.  Bach  (1710—1784). 
C.  P.  E.  Bach  (1711—1788). 
Schobert  {c.  1750). 

Modern  Sonatas  for  the  Pianoforte, 

Haydn  (1732—1809). 
dementi  (1752—1832). 
Mozart  (1756—1791). 
Pleyel  (1757—1831). 
Dussek  (1761—1812). 
Steibelt  (1764—1823). 
Beethoven    1770—1827). 
Cramer  (1771—1858). 
Hummel  (1778—1837). 
Field  (1782—1837). 
Ferd.  Eies  (1784—1838). 
Kalkbrenner  (1784—1849). 

9 


130  History  of  Music.  [iii.  29, 30. 

Modern  Sonatas  for  the  Pianoforte. 

Onslow  (1784—1853). 
Weber  (1786—1826). 
Czerny  (1794—1868). 
Moscheles  (1794—1870). 
Schubert  (1797—1828). 
Schumann  (1810—1856). 
Mendelssohn  (1809—1847). 
Chopin  (1810—1849). 
Henselt  {h.  1814). 
Sterndale  Bennett  (1816— 1875), 

It  should  be  added  that  the  ahove  composers  were 
more  or  less  distinguished  as  performers  on  the  harp- 
sichord or  pianoforte. 

30.  The  Sonata  di  Camera  has  already  been  men- 
tioned; the  class  "Chamber  Music  "  {Musica  di  Camera) 
includes  many  varieties  of  composition — all  music,  in 
fact,  which  is  capable  of  performance  by  a  few  persons. 
Songs,  glees,  pianoforte  solos  or  duets,  and  other 
instrumental  solos  with  or  without  pianoforte  accom- 
paniment, woidd  properly  come  within  the  category. 
But  the  term  "  Chamber  Music "  is  now  commonly 
used  to  indicate  works  written  for  tAvo  or  more  instru- 
mental performers,  of  whom  there  should  be  only  one  to 
each  part  or  instrument.  Stringed,  wood,  and  even 
brass  instruments  of  a  not  too  noisy  character,  have 
been  employed  in  this  species  of  music.  Each  per- 
former being  a  soloist,  especial  care  is  taken  with  each 
part,  so  that  the  skill  of  the  player  and  the  character- 
istic qualities  of  his  instrument  may  be  suitably 
displayed.  The  earliest  instrumental  chamber  music  of 
which  anything  certain  is  known  was  that  composed 
for  the  "  sets  of  viols,"  and  to  which  we  alluded  in 
par.  27.  The  "  fantasias "  of  Dowland,  Jenkins,  and 
others  of  that  date  were  generally  written  in  six  parts, 
for  the  six  instruments  comprising  a  "  chest  of  viols." 
The  modern  compositions  of  this  class,  from  the  duet 
to  the  octet,  are  usually  written  in  the  "  sonata "  form 


III.  30,  31.]  Art  Summary.  131 

described  above,  and  may  be  familiarly  described  as 
sonatas  for  several  instruments  in  concert,  with  this 
distinction,  that  each  part  is  an  individual  voice  ;  not  a 
mere  contribntary  to  complete  harmony.  Sammartini 
(1700 — 1775),  Haydn,  Boccherini,  ISIozart,  Viotti, 
Pleyel,  Shield  (1754—1829),  Gretry,  Cherubini, 
Dnssek,  B.  Romberg,  Beethoven,  Eeicha,  Georges 
Onslow,  Hummel,  Neukomm,  Spohr,  Ferdinand  Ries, 
Weber,  Fesca,  Schneider,  Schubert,  Mayseder,  Haupt- 
mann,  Moliqiie,  Reissiger,  Mendelssohn,  Schumann, 
Bennett,  are  among  the  most  distinguished  composers  of 
chamber-music  of  the  approved  type. 

31.  The  history  of  the  Concerto  may  almost _be  said 
to  run  side  by  side  with  that  of  the  Musica  di  camera, 
and  may  be  regarded  as  forming  the  link  between  the 
latter  and  the  purely  orchestral  synipliony.  The 
modern  concerto  is  a  C'-mposition  for  one  principal 
instrument  and  the  full  orchestra,  but  the  orchestra, 
although  it  cannot  be  regarded  in  the  light  of  a  mere 
accompaniment,  is  entirely  subservient  to  the  solo 
instrument,  only  coming  m  fortissimo  when  the  soloist 
is  in  rest.*  The  most  usual  concertos  are  those  for  the 
pianoforte,  or  the  violin ;  but  compositions  of  this 
kind  have  been  written  for  the  organ  (by  Handel,  &c.), 
and  for  almost  every  orchestral  instrument  of  import- 
ance— such  as  the  flute  (by  Kiihlau),  the  clarinet  (by 
Weber),  and  the  violoncello  (by  B.  Romberg).  The 
musical  form  of  the  earlier  coucertos  by  Corelli  and 
others  prior  to,  or  contemporary  with,  Bach,  was  very 
similar  to  that  of  the  "  sonata "  of  the  same  period  j 
the  present  form  is  like  that  of  the  symphony,  except 
that  the  concerto  has  fewer  movements.  The  minuet 
is  seldom,  if  ever,  introduced  in  the  modern  concerto. 
We  append  a  list  of  the  principal  composers  of  concertos. 


*  There  are,  of  course,  occasional  exceptions  to  this  rule, 
especially  when  the  organ,  or  the  pianoforte,  is  the  solo  instru- 
ment. 


132  History  of  Music.  [m.  3i,  32. 

For  the  violin:  Corelli,  Tartini  (1692  —  1770),  Nar- 
dini,  LoUi  (1730—1802),  Viotti  (1753—1824),  Baillot 
(1771—1842),  Beethoven,  Paganini  (1784—1840), 
Spolir,  DeBeriot  (1802—1870),  Mendelssohn,  &c. 

For  the  pianoforte  {or  harpsichord)  :  J.  S.  Bach, 
Handel.  Hasse,  Sara  martini,  Fried  emann  Bach,  C.  P.  E. 
Bach,  J.  C.  Bach  (the  foregoing  all  for  the  harpsichord), 
Haydn,  Boccherini,  Gietry,  Dittersdorf,  Nauniann, 
Clementi,  Mozart,  Pleyel,  Dussek,  Steibelt,  Cramer, 
Beethoven,  Weber,  and  others  whose  names  have  been 
mfentioned  as  composers  of  pianoforte  sonatas. 

32.  The  term  Symphony  has  been,  and  is  still,  so 
variously  applied  as  to  cause  some  confusion  to  young 
student-s.  The  introduction  of  a  few  bars  usually 
written  in  songs  is  generally  so  called,  while  Handel 
and  other  composers  of  that  time  have  inserted  in  their 
oratorios  or  cantatas  short  inte)~niezze  for  the  orchestra 
under  the  same  name.*  But  the  symphony  proper,  in 
the  sense  in  which  it  is  mentioned  throughout  this 
work,  is  a  lengthy  and  highly  elaborated  composition 
for  the  full  orchestra.  The  construction  cf  the 
symphony  is  very  similar  to  that  of  the  pianoforte- 
sonata,  both  as  regards  the  employment  of  the  "  binary  " 
form  and  the  number  and  style  of  the  contrasting 
movements  ;  the  only  difference  being — if  difference  it 
can  be  called — that  the  movements  are  more  extended 
than  in  the  ordinary  sonata.  The  symphony  is  the 
highest  form  of  orchestral  work,  and  any  number  of 
instruments  of  the  same  and  of  various  kinds  may  he 
employed,  while  solos  for  any  players  can  be  freely 
introduced.  Beethoven  has  added  voices  to  one  of  his 
symphonies — the  ninth,  commonly  called  the  Choral 
Symijhony.  We  have  already  said  that  any  kind  of 
instrument  may  be  employed  in  the  symphony ;  but 
the  following  may  be  regarded  as  a  fair  specimen  of  the 
usual  score  : — 

*  e.  g.  the  Pastoral  Symphony  in  the  Menaiah. 


III.  32.]  Art  Summary.  133 

1.  Flutes,         generally  two  parts  written. 

2.  Hautboys,    generally  two      „         „ 

3.  Clarionets,  generally  two      „         „ 

4.  Bassoons,     generally  two      „         „ 

5.  Horns,  two  to  four  „         „ 

6.  Trumpets,    generally  two      „         ,, 

7.  Trombones,  two  or  three        „         ., 

8.  Kettle  Drums,  generally  two,  tuned  in  4'*'  or  5"". 

9.  First  Violins,  several  instrumeiits  to  one  part. 

10.  Second  Violins,     „  ,,  „ 

11.  Violas  (or  Tenors)  „  ,, 

12.  Violoncelli,            „  „  ,, 

13.  Double  Basses,      „  „  „ 

Boccherini  was  one  of  the  first  to  write  symplionics 
in  correct  form,  but  Haydn  is  really  the  founder  of  the 
symphonic  form  as  we  have  it  to-day.  Mozart  elal)or- 
ated  it,  Beethoven  perfected  it.  Although  many  since 
Beethoven  have  produced  symphonies,  some  of  them 
really  fine  works,  it  cannot  be  said  that  any  advance 
either  in  form  or  orchestral  effect  has  been  made  within 
the  last  50  years.  Some  of  the  later  writers  have 
written  a  species  of  shortened  symphony,  called  the 
concert-overture;  this  is  of  about  the  same  length  as 
the  opera-overture,  but  more  strict  as  to  I'irra.  Over- 
tures to  well-known  operas  have  always  been  popular 
in  the  concert-room,  and  the  concert-overture  is  a 
result  of  this  popularity.  Schumann,  Mendelssohn, 
and  Bennett ;  Brahms,  and  many  other  living  com- 
posers, have  written  this  class  of  orchestral  work,  which 
is  more  modern  than  the  symphony.  The  following 
list  includes  as  many  writers  of  symphonies  as  the 
student  need  remember  : — 
Hasse  (1699  —  1783). 
Sammartini  (1700—1775). 
Haydn  (1732 — 1809),  London  Symphoniex,  Toy  Symphonies, 

&.C.,  118  in  all. 
Gossec  (1734  *— 1829),  Sympkonie  en  Re  (D). 

•  Schliiter  erroneously  gives  the  year  1773.     Gossec  died  in  hia 
ninety-sixth  year. 


134  History  of  Music.  [m.  3a — ^34. 

Boccherini  (1740—1806). 

Kallmann  (1741 — 1801). 

Gretiy  (1741— 1813). 

Clementi  (1752—1832). 

Mozart  (1756 — 1791),  Jupiter  SympTwny,  and  many  others. 

Pleyel  (1757—1831),  29  symphonies. 

A.  Romberg  (1769—1821). 

Beethoven  (1770  -1827),  nine  sjm^honiQs  [Pastorale,  Eroiea, 

Choral.  Sec). 
Reicha  (1770—1836). 
Neukomm  (1778—1858). 
Onslow  (1784—1852). 
Spohr  (1784—1859),  Die    WeiJie   de.r    Tone   {Tlte  Power  of 

Sound),  &c. 
Moscheles  (1794—1870). 
Schubert  (1797—1828),  Symphony  in  C,  &c. 
Berlioz  (1803—1869),  Borneo  et  Juliette,  &c. 
Mendelssohn   (1809 — 1847),  Scotch,  Reformation,  and    other 

symphonies. 
Schumann  (1810 — 1856),  Symphonies  in  C,  B  flat,  &c. 
Liszt  (J.  1811),  Faust  Symphony,  Tasso,  kc. 
Bennett  (1816 — 1875),  Symphony  in  C  minor,  &c. 
Niels  Gade  {b.  1817). 

Amongst  othor  symphonists  now  living  may  be 
mentioned  J.  Eaff,  Brahms,  Joachim,  Rubinstein, 
Sullivan,  Front,  and  Silas. 

33.  Having  enumerated  the  principal  forms  of  in- 
strumental music,  it  now  behoves  us  to  give  some 
account  of  the  ancient  and  modern  musical  instruments  ; 
we  shall,  however,  confine  our  attention  to  those  of 
especial  note.  Luscinius,  in  his  Musurgia  (1536), 
enters  into  many  particulars  concerning  obsolete  instru- 
ments, of  some  of  which  he  supplies  excellent  wood-cuts  : 
many  of  th^se  are  included  in  Hawkins'  History  of 
Music,  and  to  this  work  we  must  refer  those  of  our 
readers  who  are  curious  upon  the  subject.  The  more 
interesting  among  them  shall  be  alluded  to  in  the 
course  of  the  present  section. 

34.  The  precise  origin  of  the  Lyre  (Xvpa),  one  of  the 
most  ancient  of  musical  instruments,  is  wrapped  in 


m.  34, 35.]  Art  Summary.  135 

obscurity,  unless  its  invention  is  to  he  assigned  to 
Jubal,  '"the  father  of  all  that  handle  the  'harp'  and 
the  organ."  The  lyre  is  undoubtedly  of  Asiatic  origin, 
was  imported  into  Egypt,  and  thence  into  Greece.  It 
is  a  stringed  instrument,  of  a  size  to  be  held  by  one 
hand  against  the  shoulder,  while  the  other  hand  pulls 
or  "  plucks "  the  strings.  It  has  no  neck  or  frets, 
consequently  the  pitch  of  the  strings  cannot  be  altered 
in  playing,  as  with  the  "  kithara "  or  guitar  genus,  to 
which  we  shall  refer  by  and  bye.  The  lyre  may  in 
fact  be  regarded  as  the  prototype  of  the  harp,  and 
secondarily  of  the  harpsichord — from  which  last  we 
immediately  derive  the  pianofoite.  Into  the  old 
traditions  of  the  Greeks,  who  attri'bute  the  invention  of 
the  lyre  to  Mercury,  we  shall  not  enter.  Originally 
the  Greek  lyre  had  but  four  strings ;  these  were  in- 
creased by  Terpander  to  seven ;  while  later  musicians 
extended  the  number  to  eight,  ten,  fifteen,  and,  lastly, 
even  to  sixteen  strings.  These  strings  were  attuned  to 
the  sev>-ral  Greek  modes,  and  wei-e  plucked  with  the 
fing'^rs,*  as  an  acci'mpaniment  to  the  voice. 

35.  The  Harp,  which  stands  next  in  relation  to  the 
lyre,  is  one  of  the  most  ancient  and  universal  of  stringed 
instruments,  and  has  generally  possessed  a  greater 
number  of  strings  and  consequently  a  larger  compas-J 
than  the  lyre.  '  The  shape  of  the  modern  harp  must  be 
familiar  to  every  ri.-ader,  and  its  triangular  form  is 
almost  identical  with  that  of  the  Egyptian  and  Assyrian 
hnrps  as  depicted  on  the  ancient  mcmuments.  The 
further  we  go  back,  however,  Ave  shall  find  these  in- 
stmments  more  and  more  bow-like  in  shape  ;  so  that 
there  is  good  reason  to  believe  that  the  first  idea  of  the 
harp   was  derived  from  the  bow  of    the  archer,   the 


*  Instead  of  the  fingers,  a  little  stick  or  staff,  made  of  bone, 
metiil,  or  a  quill,  and  called  a.  plectrum  (TrXjjcrpov),  was  frequently 
used  for  this  purpose:  hence  the  lyre,  kithara,  harp,  lute,  &c.,  are 
known  as  '^pleclral  instruments." 


136  History  of  Music.  [m.  35, 36. 

twang  of  the  tightened  string  or  cat-gut  when  phicked 
giving  forth  a  more  or  less  definite  tone  or  note.  In 
Wales  the  harp  is  still  regarded  as  the  national  instru- 
ment, as  it  has  been  from  the  earliest  times ;  it  is  said, 
however,  that  the  Irish  harp  is  even  more  ancient,  that, 
in  fact,  the  Britons  acquired  it  from  the  Irish  Celts, 
The  harp  h^s  been  tuned  in  various  ways,  sometimes 
with  a  double  row  of  strings  (double  harp  or  Arpa 
doppia)  proceeding  by  semitones  ;  and  the  tripjle  harp 
— that  is,  having  three  rows  of  strings,  is  otherwise 
known  as  the  "Welsh  harp."  The  harp  has  long  been 
recognized  by  composers  as  a  valuable  instrument  in 
the  orchestra.  The  Arpa  doppia,  or  double  harp, 
already  mentioned,  was  employed  by  Monteverde  in 
his  opera  Orfeo.  In  Handel's  Saul  the  harp  is  used  as 
a  solo  instrument,  though  the  movements  written  for 
it  are  not  of  a  very  distinctive  character,  and  might 
have  been  played  with  a  similar  effect  upon  the  harpsi- 
chord. In  the  scores  of  several  modern  operas  the  harp 
has  been  introduced  with  splendid  effect,  and  Wagner 
has  employed  several  of  these  instruments  together. 
The  invention  of  the  pedal  action  has  by  some  been 
attributed  to  Hochbvucker,  1720;  by  others  to  Velter, 
1730.  This  renders  it  possible  that  the  pedal  harp 
was  used  in  Saul,  which  was  composed  in  1738-9.  In 
Esther,  which  was  produced  in  1720,  the  old  Welsh 
harp  was  employed.  About  a  century  later  (1820) 
Erard  introduced  the  double  action,  by  which  means 
the  strings  may  be  raised  two  semitones,  thus  affording 
greater  facility  for  modulation.  The  older,  or  single- 
action  harp,  had  seven  pedals,  raismg  the  notes  respec- 
tively affected  one  semitone  only ;  the  usual  comjiass 
of  this  instrument  was  nearly  six  octaves,  its  normal 
scale  being  that  of  E  flat. 

36.  The  Spinet  (or  Spinnet),  sometimes  called  "  the 
Couched  Harp,"  was  a  keyed  instrument,  and  was  the 
prototype  of  the  harpsichoid.  By  some  writers  it  is 
mentioned  as  identical  with  the  Virginals,  described 


iiL  36,  37.]  Art  Summary.  137 

by  Luscinius  in  his  Mnsvrgia  (1536).  Certain  it  is 
that  the  action,  compass,  and  shape  of  the  instruments 
were  very  similar,  if  not  identical.  Either  instrument 
had  a  single  string  for  each  note,  which  was  sounded 
by  the  plectral  action  of  a  quill  and  jack  set  in  motion 
by  the  key.  The  compass  vaiied  between  three  and 
fi)ur  octaves,  commencing  from  C  or  F  below  the  bass 
stave.  The  smaller  iiLstruments  were  generally  pLiccd 
upon  a  table  while  being  played  upun.  We  have  before 
alluded  to  the  "  Virginals "  as  the  favourite  musical 
instrument  of  Queen  Elizabeth,  for  whom  Dr.  Tye 
composed  many  little  "  pieces  "  or  studies.  Byrde  also 
wrote  several  compositions  for  the  Virginals,  Avhich 
were  printed  in  the  collection  known  as  Queen  Eliza- 
beth's Virginal  Book. 

37.  The  Harpsichord  (Harpsicon,  Clavicembalo, 
Clavecin,  Cembalo),  introduced  into  this  country  about 
the  beginning  of  the  seventeenth  century,  was  an 
enlargement  upon  the  spinet,  both  as  regards  power  and 
compass.  The  notes  were  produced  by  the  same  action 
as  that  of  the  spinet,  but  in  the  harpsichord  there  were 
two,  sometimes  three,  and  even  four  brass  or  steel  wires 
to  each  note,  and  "  stops  "  were  provided,  by  means  of 
which  the  tone  power  could  be  intensified  ordimini-hed 
at  the  will  of  the  player.  Many  instruments  had  a 
contrivance  for  the  gradual  opening  and  shutting  of  the 
lid,  which  gave  the  effect  of  a  swell.  Some  had,  besides, 
an  upper  keyboard,  with  a  separate  set  of  single  strings 
which  gave  an  effect  similar  to  that  produced  by  the 
soft  pedal  of  the  modern  pianoforte.  The  usual  com- 
pass of  the  harpsichord  was  five  octaves,  starting  from 
the  lowest  bass  note  E  : — 


i 


138  History  of  Music.  [tii.  37, 38. 

During  the  latter  part  of  the  seventeenth,  and  the 
greater  portion  of  the  eighteenth  centuries,  almost  every 
orchestra  contained  the  harpsichord,  which  occupied  an 
important  place  in  the  scores,  and  was  generally  played 
hy  the  conductor.  The  names  of  the  more  distinguished 
harpsichord  players  Avill  be  found  included  in  the  list 
of  composers  for  that  instrument  given  in  paragraph  28 
of  the  present  section.  A  perusal  of  the  harpsichord 
music  of  the  Bachs  and  their  contempordries  will  show- 
that,  especially  regarding  the  peculiar  action  of  the 
instrument,  the  performers  of  that  time  were  possessed 
of  a  wonderful  degree  of  manipulative  skill,  some  of 
their  compositions  being  of  a  character  to  tax  the 
executive  powers  of  many  of  the  best  pianists  of  our 
own  day.  Until  the  middle  of  the  last  century  the  use 
of  the  thumb  in  playing  was  not  allowed ;  it  was 
Emmanuel  Bach  who,  in  1753,  first  introduced  a  system 
of  "fingering"  in  which  the  thumb  was  admitted.  But 
no  method  of  fingering,  nor  mechanical  contrivance, 
could  make  the  harpsichord  a  perfect  instrument ;  it 
lacked,  from  the  nature  of  its  action,  the  capaci'y  for 
producing  that  subtle,  ever  varying  "light  and  shade" 
which  constitutes  what  is  known  as  "  expression." 

38.  It  was  the  Pianoforte  (Hammer-clavier)  which', 
posse-sing  the  vital  power  of  "  expression,"  eventually 
superseded  the  harpsichord.  The  harp-like  shape  and 
the  metal  wires  remained  as  in  the  older  instrument, 
but  the  quills  and  jacks  were  displaced  by  the  little 
hammers  with  Avhich  every  one  is  familiar.  Every 
degree  of  i^ia/^o  and  forte  being  thus  producible  by  the 
touch  of  the  performer,  the  new  instrument  obtained 
its  present  name  by  common  consent,  as  iudicating  a 
feature  hitherto  unknown  in  connection  with  keyed 
instruments.  The  idea  of  the  pianoforte  seems  to  have 
occurred  coincidently  to  several  persons  about  the  same 
date;  the  earliest,  amnngst  them,  however,  appears  to 
have  been  Cristofali,  in  1711.  The  other  co-inventnrs 
were  Marius,  Wood,  and  Schrciter.     The  first  noted 


III.  38,  39.]  Art  Summary.  139 

maker  of  pianofortes  was  Silbermann,  whose  instru- 
ments were  much  approved  by  Bach.  This  great 
musician  does  not  appear,  however,  to  have  discarded 
the  harpsichord  in  favour  of  the  new  instrument.  It 
was  not  until  1760,  ten  years  after  the  death  of  Bach, 
that  the  pianoforte  came  into  popular  favour.  The 
earliest  makers  were  Stein,  Broad  wood,  Collard,  Erard, 
and  others  whose  names  are  well  known  at  the  present 
day  in  conneciion  with  pianoforte  manufacture.  Under 
the  heads  "  Sonata "  and  "  Concerto "  we  have  men- 
tioned the  names  of  tiie  principal  composers  for  the 
pianoforte ;  the  same  musicians  were  celebrated  like- 
wise as  virtuosi,  or  performers  upon  this  instrument. 
"We  should,  however,  add  to  that  list  the  folloAving 
artists,  who  made  pianoforte  playing  their  special 
vocation :  Herz,  Thalberg,  SchiUofF;  and  amongst  living 
celebrities,  Halle,  Clara  Schumann,  Arabella  Groddard, 
Liszt,*  Rubinstein,*  Von  BUlow,  Essipoff,  Pauer. 

39.  The  Lute,  now  obsolete,  may  be  regarded  as  the 
most  important  of  the  many  varieties  of  the  kithara  f 
genus.  The  period  of  the  invention  of  tlie  lute  is  still 
a  matter  of  speculation ;  some  say  that  it  is  of  Asiatic 
origin.  Dante  {d.  1321)  alludes  to  it  in  a  manner 
which  proves  that  it  was  a  well-known  instrument  in 
his  time.  Mersennus  [d.  1640)  tells  us  that  the  lute 
consisted  of  three  parts  : — first,  the  table  or  flat  sound- 
board lying  under  the  lower  end  of  the  strings ; 
secondly,  the  back  or  body,  formed  by  nine  convex 
ribs  jointed  together ;  thirdly,  the  neck,  and  in  front 
of  it  the  finger-board,  over  which  nine  frets  or  lines  of 
cat-gut  were  stretched.  The  usual  number  of  the  strings 
was  six,  the  five  largest  being  doubled,  making  eleven 
strings  in  all.    Many  of  the  later  ins  ruments,  however, 

•   Vide  i.  68,  69. 

t  The  kithara  was  distinguishefl  from  the  lyre  in  the  addition 
of  a  neck  with  frets  lying  close  iiiuler  the  strings,  by  which  means 
the  pitch  of  each  string  could  be  raised  by  the  "  stopping  "  or 
pressure  of  the  fingers. 


140  History  of  Music.  [iii.  30. 

had  as  many  as  twenty-four  strings.     The  lute  was 
usually  tuned  as  under  : 


m 


^^m 


•with  two  strings  to  each  note,  the  highest  excepted. 
The  Orpharion-hite  had  from  sixteen  to  twenty  strings, 
which  were  of  metal  instead  of  cat-gut.  The  Bass-lute 
(Theorbo,  Arch-lute,  Kithara  hijuga)  had,  as  the  last 
name  implies,  two  necks,  or,  more  correctly,  two  hea'ls 
and  fret-boards  of  different  sizes  and  placed  side  by 
side, — the  longer  fret-board  for  the  bass  strings,  and  the 
shorter  for  the  upper  and  middle  strings.  The  theorbo 
came  into  use  about  the  beginning  of  the  seventeenth 
century,  and  formed  a  valuable  constituent  in  the  early 
orchestra.  Thomas  Mace,  in  his  quaintly -written 
treatise,  Musick^s  Momiment  (1676),  has  given  an 
interesting  description  of  the  theorbo,  for  which  he 
was  a  very  popular  composer.  Music  for  the  lute  was 
written  in  a  peculiar  kind  of  notation,  called  tahlature, 
consisting  of  letters  and  other  signs  upon  a  six-line 
stave.  Performers  on  the  lute  or  theorbo  were  termed 
"lutenists,"  and  until  recent  years  existed  the  office 
of  "  Lutenist  in  the  Chapel  Royal."  The  theorbo  fell 
into  disuse  about  the  middle  of  the  last  century.  Some 
writers  affirm  that  the  latest  employment  of  this  instru- 
ment in  the  orchestra  was  by  Francesco  Conti,  in  1708, 
but  this  statement  is  not  correct.  Handel  used  it  in 
his  Ode  on  Saint  Cecilia's  Day,  which  was  composed 
and  produced  in  1739,  as  an  accompaniment  to  the  air 
"  The  Soft  Complaining  Flute."  The  score  is  marked 
"  Liuta,"  but  the  compass  employed 


^m 


III. 


39,  40.] 


Art  Summary. 


141 


conclusively  indicates  the  theorbo.  In  old  scores  we 
frequently  find  the  part  for  the  theorbo  written  as  a 
hasso  continuo,  or  figured  bass.  Among  the  most  emi- 
nent lutenists  were  Mace,  Kapsberger,  Lambert,  Conti, 
Gaetauo,  and  Gauthier.  Hawkins  gives  the  following 
specimen  of  lute  music,  composed  by  Thomas  Mace  : 


Ex.  32.    My  Mistress. 


TuoMAS  Mace. 


i^EESE^Ja 


E^Bfc 


^■ 


'=3-= 


i 


:Bh 


■4=^: 


•— li 


9: 


--:^=^- 


t — -^- ]  <fec. 


Other  varieties  of  the  kithara  family  were  the  ghittem 
or  cither,  the  citole,  the  mandolin  (employed  by  Mozart 
in  Don  Giovanni^,  and  the  guitar,  whicli  has  enjoyed 
a  more  recent  popularity.  The  hackbret  or  dulcimer 
may  scarcely  be  said  to  belong  to  the  same  order,  as 
its  strings  were  not  "  plucked,"  but  beaten  by  small 
pellets  or  hammers,  upon  the  principle  of  the  modern 
pianoforte. 

40.  The  family  of  stringed  instruments  played  with 
a  bow  has  been  a  very  numerous  one.  The  most 
ancient  viol  on  record  appears  to  be  the  ravenstrom  (or 
ravanastron),  still  played  in  India  by  the  mendicant 
monks  of  Buddha.  Tradition  says  that  this  primitive 
instrument  was  invented  by  one  of  the  kings  of  Ceylon, 
but  as  the  date  assigned  to  tliis  monarch  is  somewhere 
about  five  thousand  years  before  Christ,  the  tradition 
is  worth  very  little  indeed.  It  is  said,  however,  that 
the  ravenstrom  was  the  precursor  of  the  goijidok,  or 


142  History  of  Music.  fm.  40. 

Russian  fiddle ;  and  the  Welsh  crwth,  which  had  six 
strings  strung  across  a  flat  bridge,  and  was  ]"»layed  partly 
with  the  bow,  and  partly  by  plucking  w^ith  the  fingers. 
Another  ancient  variety  is  the  urh-lieen  of  the  Chinese, 
which  consists  of  a  mailet-shaped  box,  into  which  a  stick 
or  tube  is  fixed,  with  three  or  four  strings  strung  from 
pegs  at  one  end  of  the  stick  and  passing  over  a  bridge 
fixed  upon  the  mallet-like  box.  The  truynpet-marine 
consisted  of  a  triangular  box  with  one  string  strung 
across  a  very  low  bridge.  From  the  rehah  of  Egypt, 
a  single-stringed  fiddle  "with  a  square-shaped  body, 
is  probably  derived  the  rehec,  a^  thiee-stiinged  instru- 
ment in  shape  more  nearly  resembling  the  modern 
violin.  From  the  rehec  sprang  in  fact  the  family  of 
viols  to  which  frequent  allusion  has  been  made.  The 
Viol,  OTvituIa,  dates  from  the  tenth  or  eleven hh  century  ; 
it  usually  had  six  strings,  and  the  finger-board  was 
furnished  with  frets.  The  size  of  the  vied  was  approxi- 
mate to  that  of  the  viola,  or  tenor  violin  now  used  in  the 
orchestra.  The  "  chest  of  viols  "  has  been  described  by 
an  old  writer  as  "  a  large  hutch  with  several  apartments 
and  partitions  in  it,  each  lined  with  green  baize. 
Every  instrument  was  sized  in  bigness  according  to  the 
part  played  upon  it,  the  treble  being  the  smallest,"  &c. 
A  model  chest  of  viols  contained  six  instruments, — two 
trebles,  two  tenors,  and  two  basses.  From  the  chest  of 
viols  we  obtam  the  Violoncello;  also  the  Viol-da-gamha, 
or  leg-viol,  so  called  from  the  position  in  which  it  is 
held  by  the  performer.  The  finger-board  of  the  gamba 
was  provided  with  frets,  and  the  strings,  six  in  number, 
were  thus  tuned  : 


ei^EE=^ 


The  viol-da-gamba  was  an  instrument  much  favoured 
by  Bach,  Avho  wrote  ohhligati  parts  for  it  in  some  of  his 


III.  40,  41.]  Art  Summary.  143 

scores — one  notable  instance  occurs  in  the  Passion 
according  to  St.  Matthew.  Bach  invented  a  similar 
instrument,  having  a  somewhat  higher  compass,  which 
he  named  Viola  jyom^wsa,  but  this  was  soon  superseded 
by  the  violoncello.  The  BavTjton,  or  Viol-di-Bardone, 
was  another  instrument  of  the  viol  class,  having  six  to 
seven  cat-gut  strings  played  with  the  boAv,  under  which 
lay  sixteen  metal  strings  which  were  plucked  with  the 
fingers  of  the  left  hand.  Prince  Esterhazy,  the  patron 
of  Haydn,  was  exceedingly  fond  of  this  instrument,  for 
which  Haydn  composed  upwards  of  one  hundred  and 
sixty  studies.  A  very  similar  instrument,  both  as  to 
the  number  of  cat-gut  strings  and  the  metal  strings 
beneatii,  was  the  Viul-d'amour,  which  ^Meyerbeer  lias 
employed  for  a  special  effect  in  Les  Huguenots.  The 
Double  bass  (contra-hasso),  the  largest  of  all  the  viols, 
is  said  to  have  been  invented  by  Salo,  in  1580; 
Monteclair  introduced  it  into  the  orchestra  in  1696. 

41.  The  actual  inventor  of  the  Violin,  or  little  viol, 
is  not  known,  nor  yet  the  precise  date  of  its  introduction. 
The  earliest  mention  of  the  instrument  as  a  constituent 
of  the  orchestra  seems  to  be  that  given  by  Monteverde 
in  the  list  of  the  orchestra  at  the  performance  of  his 
Orfeo,  1650  : — "  Duoi  vlolini  piccoli  alia  Francese  ;" — 
two  little  violins  of  the  French  sort.  Blit  that  at  this 
date  the  violin  was  not  a  novelty  is  patent  from  the 
fact  that  the  violin  manufacture  was  commenced  by  the 
elder  Amati  about  the  year  1600.  We  further  hear 
of  one  Baltazarini  giving  violin  performances  in 
England  in  1577.  From  the  recent  research  of  a 
German  antiquarian  it  seems  tolerably  conclusive  that 
the  violin  manufacture  was  initiated  in  Germany,  and 
was  imported  thence  into  Italy.  The  principal  Italian 
makers  of  the  seventeenth  century  were  the  Amati, 
the  GuARNERi,  and  the  Stradiuari  families  (all  of 
Cremona),  who  so  jealously  guarded  the  peculiar  secrets 
of  iheir  manufacture,  that  no  modern  maker  has  so  far 
been  able  to  reproduce  instruments  of  the  same  quality. 


144  History  of  Music.  [in.  4i,  42. 

Others  of  the  same  period  were  Jacobus  Staixer  or 
Steiner,  Albanus,  and  the  Klotz  family — these  were 
the  principal  German  makers.  The  following  distin- 
guished violinists  are  named  in  approximate  chronolo- 
gical order :  Baltazarini,  Lullt,  Baltzar,  Banister, 
Bassani,  Corelli,  Tartijji,  Locatelli,  Jarxovick, 
BiTTi,  Albixoni,  Giardixi,  Campagxoli,  Luxati, 
DiEUPART,  Pergolesi,  Le  Clair,  Geminiani,  Lolli, 
ViOTTi,  Baillot,  Kreutzer,  Eode,  Matseder, 
Pagaxixi,  Lafoxt,  Spohr,  De  Beriot.  The  principal 
violinists  of  the  present  day  it  is  unnecessary  to  mention. 
42.  Among  wind  instruments,  probahly  the  most 
ancient  is  the  Flute,  of  which  there  have  been  many 
varieties.  The  word  "  flute  "  is  suj^posed  to  be  derived 
from  fluta,  a  lamprey,  or  small  eel,  which  has  on  its 
side  seven  marks  or  holes  corresponding  to  those  of 
the  instrument.  The  flute  was  exceedingly  popular 
with  both  the  Greeks  and  the  Eomans,  who  introduced 
flute  playing  into  their  religious  ceremonies,  and  almost 
on  every  public  occasion-j-indeed,  even  at  their  funerals. 
At  first,  and  until  a  comparatively  recent  date,  the 
mouth-piece  and  shape  of  the  flute  was  not  unlike  the 
flageolet.  Some  flutes  were  "  double,"  i.e.,  having  two 
tubes  connected  with  a  single  mouth-piece.  Luscinius 
describes  flutes  of  four  sizes,  ranging  from  treble  to 
bass.  The  Recorder,  frequently  alluded  to  by  the  old 
English  writers,  was  a  kind  of  flageolet,  and  varied  in 
length  from  about  twelve  inches  to  three  feet,  the 
largest  being  the  Bass  Recorder.  The  Pilgrim's  Staff 
was  the  name  given  to  one  kind  of  flute  from  its  great 
length  and  consequent  resemblance  to  the  staves  carried 
by  religious  pilgrims  in  their  processions.  The  Cornet, 
not  to  be  confounded  with  the  modern  brass  instrument 
of  the  same  name,  was  a  bow-shaped  flute,  tapering 
towards  the  mouth-piece,  and  came  into  use  in  the 
reign  of  Elizabeth.  The  tone  of  the  cornet  was 
regarded  as  very  closely  resembling  the  human  voice, 
and  for  this  reason,  at  the  Eestoiation,  when  Cathedral 


in.  42,  43.]  Ari  Summary.  145 

choristers  were  yet  very  scarce,  owing  to  the  discourage- 
ment of  choral  services  by  tlie  Puritans,  this  instrument 
was  used  to  sti'engtlien  the  treble  parts.  The  old 
English  tlnte,  ov  flute-u-hec, — so  called  because  the  mouth- 
piece had  some  resemblance  to  the  bill  or  "  beak  "  of  a 
bird, — was  the  flute  commonly  used  in  the  orchestra  np 
to  the  time  of  Handel,  who  introduces  into  some  of  his 
scores  the  modern  horizontal  or  German  flute  {flaato 
traverso),  as  the  traverso,  evidently  to  distinguish  it 
from  the  flute-a-hee,  still  in  general  use  in  his  day. 

43.  Of  the  present  reed  iis^strument8  the  Oboe  (or 
hautboy)  is  one  of  the  oldest.  Its  use  in  England  may 
be  traced  as  far  hick  as  the  fourteenth  century.  They 
were  employed  in  the  court  band  of  Edward  III.,  and 
were  then  known  as  wcyglites  or  loaites  ;  and  it  is  further 
supposed  that  the  Christmas  "  waits "  derived  their 
appellation  from  the  fact  that  these  loaites  or  hautboys 
were  a  prominent  feature  of  those  nocturnal  entertain- 
ments. In  the  plays  of  Shakespeare,  we  find  frequent 
allusion  to  the  "  hautboys "  in  the  staye  directions 
announcing  the  entry  of  roynl  or  martial  pageants. 
The  Corno  Inglese  [Co?' Anglais)  is,  familiarly  speaking, 
a  larger  oboe,  and  forms  the  "  alto  "  of  the  smaller 
instrument.  The  Orfeo  of  Gluck  contains  a  part  for 
this  instrument,  as  well  as  the  overture  in  Kossini's 
Guillaume  Tell;  whUe  Meyerbeer  has  introduced  it 
into  many  of  his  scores.  The  instrument  has  also 
been  employed  by  Wagner  and  some  other  modern 
writers.  The  "  natural  bass  "  of  the  above  instruments 
is  the  Bassoon  (called  in  Italian  fagotto,  from  its 
resemt  (lance,  when  the  parts  are  severed  and  tied 
together,  to  a  bundle  of  sticks  or  faggots),  said  to  hava 
been  invented  in  the  year  1539  by  an  Italian  named 
Afranio,  but  there  is  no  doubt  that  it  was  of  much 
earlier  date,  though  of  diff'erent  shape  and  compass,  and 
was  known  as  the  Bombard,  or  Bass  Weyghte.  It  is 
not,  however,  to  be  confounded  with  the  Basaun 
mentioned  by  Luscinius,  which  was  really  a  bass 
10 


146  History  of  Music.  [iii.  43,  44. 

instrument  of  the  trombone  (or  sackbut)  cla?s.  Handel 
was  one  of  the  first  among  important  composers  to 
introduce  the  bassoon  into  the  orchestra,  and  his  use  of 
the  instrument  in  Saul  (in  the  Incantation  scene. 
Infernal  Spirits,  and  Whij  hast  thou  forced  me  ?)  is 
an  instnuce  well  known  to  musicians.  The  same 
master  has  employed  the  bassoon  to  great  advantage  in 
Thou  didst  hloio,  in  Israel  in  Egypt.  Since  Handel's 
time  the  bassoon  has  taken  an  important  place  in  the 
orchestra.  The  Double  Bassoon,  the  compass  of  which 
is  an  octave  below  that  of  the  bassoon,  was  first  intro- 
duced into  the  orchestra  at  the  Handel  Commemoration 
in  Westminster  Abbey,  1784.  Owing  to  the  unwieldy 
size  of  the  instrument  it  has  been  very  sparingly 
employed  by  musicians ;  nevertheless  Beethoven  has 
introduced  it  in  two  of  his  symphonies — the  G  minor, 
and  the  "  Choral,"  with  imposing  ett'ect. 

44.  The  modern  Clarinet  was  the  invention  of 
Denner  of  Nuremberg,  in  1690  ;  some  writers,  however, 
give  the  date  as  1720.  Its  predecessor  was  the  Chala- 
meau,*  or  Schalmey,  sometimes  mentioned  as  the 
precursor  of  the  oboe.  The  term  "  chalameau"  is  still 
employed  to  denote  the  lower  and  middle  registers  of 
the  clarinet,  which  was  first  used  in  the  orchestra  about 
the  middle  of  the  last  century.  It  had  a  place  in  the 
score  of  an  opera,  Orione,  by  J.  C.  Bach  (a  son  of  the 
great  master),  composed  about  1760.  The  alto  and 
bass  clarinets  are  simply  larger  varieties  of  the  smaller 
instrument,  each  producing  a  correspondingly  lower 
compass.  The  Basset-Horn  (Corno  di  bassetto),  Avhich 
has  been  described"  as  taking  an  intermediate  place 
between  the  clarinet  and  bassoon,  is  of  comparatively 
modern  date,  although  seldom  used  in  modern  scores. 
Lotz,  of  Presburg,  iu  Germany,  introduced  it  in  1782; 
and  Mozart  appears  to  be  the  first  master  of  note  who 
adopted  it.     His  Clemenza  di  Tito,  and  more  notably 

*  From  calamus,  a  reed. 


III.  44,  45.]  Art  Summary.  147 

still,  the  Requiem,  both  contain  remarkable  illustrations 
of  the  striking  properties,  the  individual  excellencies 
of  this  much  neglected  instrument.  The  Basset-Horn 
resembles  in  shape  a  large  clarinet,  having  a  metal  bell. 
The  compass  of  the  instrument  ranges  from  the  lower 
bass  F  to  the  middle  C  in  the  treble  stave.  The 
instrument  might  be  considered  obsolete  but  for  its 
employment  in  military  bands.  The  Serpent,  which 
dates  from  1590,  scarcely  belongs  to  the  clarinet  class, 
but  it  may  be  mentioned  here  in  concluding  our  notice 
of  wood  instruments.  The  Serpent  has  a  compass 
similar  to  that  of  the  bassoon,  but  its  alleged  uncertainty 
of  tone-production  has  long  since  brought  it  into 
disfavour,  although  we  have  heard  it  remarked  by 
instrumentalists  of  experience,  that  in  the  hands  of  a 
skUful  player  it  Gould  still  be  made  to  form  a  most 
valuable  addition  to  the  orchestra  of  the  present  day. 

45.  We  can  only  glance  at  the  principal  members  of 
the  numerous  family  of  Brass  Instruments.  The 
Horn  (Coriio),  though  the  least  a.«sertive  among  brass 
instruments,  adds  so  greatly  to  the  colouring  of  sym- 
phonic music,  that  it  has  always  occupied  an  honoured 
place  in  the  orchestia.  It  is  also  one  of  the  most  ancient 
of  instruments,  being  at  least  of  mediaeval  origin.  The 
Horn  for  which  Beethoven  and  other  great  masters 
wrote,  is  the  primitive  one  called  the  French  Horn, 
which  simply  produces  the  natural  harmonics  of  the 
open  tube,  other  notes,  always  sparingly  used,  being 
artificially  formed  by  the  insertion  of  the  hand  in  the 
bell.  In  1748,  Hampel,  a  German,  invented  a  plan  for 
the  production  of  the  semitones ;  Kcilbel,  Miiller,  and 
others  tried  further  improvefnents,  but  the  later  inven- 
tion of  Saxe  (the  use  of  pistons)  completely  overcame 
the  mechanical  difficulties,  while  at  the  same  time  the 
tone  of  the  instrument  deteriorated.  The  Trumpet 
(Clarino,  tromha)  is  of  equal  antiquity  with  the  horn, 
and  its  notes  are  similarly  produced,  but  of  higher 
pitch  and  more  brilliant  tone.     The  scores  of  the  last 


148  Sistory  of  Music.  [iii.  45,  46. 

century  show  that  the  trumpets  of  that  time  were 
capable  of  producing  higher  notes  than  at  the  present 
day,  the  probability  being  that  the  instruments  wero 
then  altogether  smaller  in  the  tube  and  hell.*  The 
Trombone,  formerly  known  as  the  sackbut,  figured  in 
the  scores  of  the  sixteenth  century.  G.  Gabrieli  (1540 
— 1612)  employed  four  sackbuts  in  the  accompaniments 
to  his  Surrexit  Christns,  and  at  this  the  musician  is 
inclined  to  smile ;  but  it  is  not  improbable  that  they 
were  used  to  double  or  lead  the  voice  parts,  each 
represented  by  a  goodly  number  of  singers.  Again, 
the  trombone  was  included  in  the  score  of  Monteverdi's 
Ch'feo.  The  presence  of  the  trombone  in  some  of 
Handel's  scores  has  been  ascribed  to  ilozart,  but  this  is 
now  considered  more  than  doubtful.  There  are  four 
species  or  sizes  of  trombone,  the  soprano,  the  alto, 
the  tenor,  and  the  bass.  The  first  and  fourth  kinds 
are  seldom  now  used ;  the  latter  owing  to  its  being 
fatiguing  to  the  performer,  and  of  sluggish  utterance. 
Other  bass  instruments  are  the  Bombardon,  the  Tuba, 
the  Euphonium.,  of  compaiatively  recent  date  ;  and  the 
Oj)hicleide,  which  was  invented  to  supersede  the  serpent 
in  the  orchestra. 

46.  It  now  remains  to  us  to  give  a  short  summary  of 
the  development  of  the  Organ,  the  most  comprehensive 
of  all  instruments.  In  histories  of  the  organ  it  is 
usual  to  give  a  description  of  a  small  collection  of 
pipes  worked  by  hydraulic  action,  known  as  "  the 
Avater-organ  of  the  ancients  ; "  but  although  diagrams 
are  supplied  with  the  description,  the  account  is  some- 
what apocryphal.  The  Magrepha,  or  organ  of  ten 
pipes,  with  a  keyboard,  iS  alleged  to  have  existed  in 
the  second  century,  but  doubts  have  been  expressed 
regarding  the  nature  of  this  instrument  also.  It  is, 
however,  an  histjrical  fact,  that  an  organ,  the  gift  of 

*  The  Claret,  Felt,  and  ThUrnerhorn,  mentioned  by  Lusciuius, 
were  all  ancient  varieties  of  the  Clarion  or  trumpet. 


III.  46.]  Art  Sutnmanj.  149 

Constantine,  was  in  the  possession  of  King  Pepin  of 
France  circa  a.d.  757.  Still  earlier  {circa  700), 
Alflhelm,  a  monk,  makes  mention  of  an  organ  with 
"gilt  pipes,"  though  he  gives  no  clue  to  the  size  of  the 
instrument.  In  the  tenth  century,  an  organ  having 
400  pipes  is  mentioned  by  Wolstan ;  the  organ  was 
played  with  "  keys,"  and  was  blown  by  thirteen  separate 
pairs  of  bellows.  Drawings  of  this  period  still  extant 
represent  the  organ  as  an  instrument  having  but  few 
pipes,  blown  with  evident  labour  by  two  or  more 
persons,  and  played  upon  by  a  monk.  The  keys  of 
these  organs  were  of  wood,  of  from  three  to  six  inches 
in  breadth,  and  requiring  to  be  played  upon  by  hard 
blows  of  the  fist.  Thus  it  is  plain  that  these  instru- 
ments were  not  capable  of  yielding  more  than  the  plain 
song  or  melody  of  ancient  Church  music,  or  at  most, 
the  crude  organum  or  diaphony  to  which  we  have 
elsewhere  alluded.  The  "  half-notes,"  or  semitones, 
were  introduced  at  Venice  about  the  end  of  the  eleventh 
century  ;  even  at  this  date  the  compass  of  the  instrument 
was  limited  to  two  octaves.  The  invention  of  the 
organ  pedal  is  attributed  to  Bernhardt,  *  about  1490; 
and  the  compass  was  an  octave  from  B  flat  or  A.  These 
pedals  Avere  nothing  more  than  small  pieces  of  wood  of 
a  size  to  be  played  with  the  toe — in  fact,  the  heel  was 
not  used  until  a  comparatively  recent  period.  The 
"  swell  organ"  was  first  introduced  by  Jordan  in  1712  ; 
the  Venetian  swell,  by  which  a  more  gradual  crescendo 
and  diminuendo  is  effect  3d  was  the  invention  of  England, 
towards  the  end  of  the  last  century.  The  swell  was 
further  improved  by  Green,  a  well-known  organ-buUder 
of  the  same  period.  As  the  organ  developed,  in  the 
course  of  time,  into  the  character  of  a  solo  instrument, f 
the  ingemdty  of   musicians  and  organ-builders   (who 

t  The  Regale,  or  Regain,  was  a  small  portable  organ  (now 
obsolete),  in  use  during  the  sixteenth  and  seventeenth  centuries. 
This,  probably,  was  the  instrument  which  proved  so  great  a  solace 
to  Milton  in  his  blindness.  *   Vide  i.  24. 


150  Hktory  of  Music.  [in.  46 

were  as  great  enthusiasts  in  their  calling  as  the  Italian 
violin-makers  were  in  theirs)  was  exercised  in  the 
production  of  new  varieties  of  tone  and  register.  The 
smaller  wind-instruments  were  more  or  less  successfully 
imitated,  and  their  names  are  still  associated  with 
certain  organ-stops — notably  the  Krmnhorne  {Cremorne, 
Cremona),  the  Gemslwrn,  and  the  Uohl  fibte.  The 
most  celebrated  builders  in  England  during  the  last 
century  were  Abraham  Jordan,  "Father"  Schmidt, 
Harris,  Suetzler,  Schroder,  Avery,  By  field,  and  Green. 
Organ-playing  as  a  separate  art  undoubtedly  owes  much 
to  Frescobaldi,  who  has  been  called  "  The  father  of 
organ-playing ;  "  he  wrote  fugues  and  other  compositions 
in  which  he  expressly  studied  the  capicities  of  the 
instrument  of  his  day.  The  following  list  of  celebrated 
organists  includes  those  chiefly  who  were  reputed  for 
their  special  skill  as  performers,  or  composers  of  organ- 
music.  We  have  not  thought  it  necessary  to  mention 
living  organists  : — 

Dr.  John  Bull  (1563—1622). 
Viadana  (1560—1625). 
Frescobaldi  (1580—1640). 
Gibbons  (1583—1625). 
Kerl  (1625—1690). 
Froberger  (1637 — 1695). 
Buxtehude  (c.  1640—1707). 
Stradella  (1645—1678). 
Blow  (1648—1708). 
Purcell  (1658—1695), 
Couperin  (1668—1733). 
Caldara  (1678—1763). 
Mattheson  (1681—1764). 
Walther  (1683—1729). 
J.  S.  Bach  (1685  —  1750). 
Handel  (1685  —  1759). 
Hasse  (1699—1783). 
Boyce  a7 10— 1779), 
Marpurg  (1719  —  1789). 
Albrechtsberger  (1736—1809). 
Stadler  (1748—1833), 
Vogler  (1749—1818). 


III.  46 — 48.]  Art  Smnmary.  151 

Rink  (1770—1846). 
Mendelssohn  (1809—1847). 
S.  Sebastian  Weslej'  {d.  1876). 
George  Cooper  [d.  1876). 

47.  The  foremost  among  instruments  of  percussion 
is  the  Drum  [tambour,  tympanum),  consisting  of  a 
hollow  hemisphere  or  cylinder  of  wood  or  metal,  over 
the  mouth  or  ends  of  which  is  placed  a  skin  or 
parchment,  in  tension.  The  pitch  of  the  note  produced 
may  be  raised  or  lowered  by  the  tightening  or  slackening, 
as  the  ca-^e  may  be,  of  the  parchment  disc ;  this  being 
effected  by  screws  or  bracings  of  leather  working  upon 
cords.  The  drum  most  commonly  used  in  the  orcliestra 
is  the  hemispherical  or  "  kettJe-druni,"  generally  a  pair 
tuned  at  the  distance  of  a  fourth  or  fifth  from  each 
other — tonic  and  dominant.  Beethoven  has  produced 
some  remarkable  effects  from  the  drum — for  example, 
the  enharmonic  cliaiige  in  the  first  movement  of  the 
fourth  symphony  (in  B  flat),  when  the  original  tonic 
(B  flat)  drum  is  unexpectedly  employed  as  Aji.  Berlioz, 
than  whom  no  m>in  better  understood  the  resources  of 
the  orchestra,  made  a  special  study  of.  the  drnm ;  and 
in  his  Eequiem  upon  the  death  of  Napoleon  I.  introduced 
several  sets  of  kettle-drums  sordini.  The  great  or  long 
drum  (bass  drum,  grosse  caisse)  is  very  sparingly  used 
by  composers,  wdio  employ  it  only  in  fortissimi  passages, 
such  as  in  the  chorus  "  Coyne  with  torches "  in  the 
Waljmrgis  Night  of  Mendelssohn.  Tlie  Glockenspiel 
is  a  frame  of  bells — sometimes  of  steel  bars,  possessing 
a  fair  compass  of  simply  diatonic  intervals,  and  struck 
with  hammers,  with  the  hand,  or  by  key.s  as  in  the 
pianoforte.  Mozart  uses  a  glockenspiel  with  exquisite 
effect  in  his  Zauberflijte.  The  Carillon  which  Handel 
used  in  Sa.id  Avas  an  instrument  very  similar  to,  if  not 
identical  Avith,  the  glockenspiel. 

48.  In  the  above  review — necessarily  cursoiy — of 
the  principal  musical  instruments,  past  and  ])resent,  we 
have  mainly  followed  the  plan  adopted  by  Berlioz  in 


152  History  of  Mime.  [in.  48. 

his  Treatise  on  Instrumentation  ;  and,  like  him,  we  have 
reserved  to  the  last  our  mention  of  that  most  exalted 
of  all  "  instruments  of  music,"  the  Human  Voice. 
AVe  have  already,  in  our  first  section  (i.  8,  9,  11,  12, 
13,  29),  alluded  to  the  schools  of  sinu;ing  founded  hy 
Ambrose,  Gregory,  Charlemagne,  and  other  early  patrons 
of  music,  or  musicians,  in  connection  Avith  ecclesiastical 
music.  Of  the  early  institution  of  church  choirs  we 
have  already  treated  in  the  present  section  (par.  3), 
and  with  the  growth  of  the  contrapuntal  art  may  he 
traced  the  development  of  choral  liaimony,  with  its 
divisions  of  soprano,  alto  or  contralto,  tenor  and  bass. 
AVith  respect  to  solo-singing,  we  have  to  look  to  the 
troubadours,  the  minnesanger,  and  other  secular  vocalists 
for  the  birth  of  the  present  art,  but  more  immediately  to 
the  opera,  Avhich  gave  a  new  and  larger  scope  for  vocal 
skill.  In  the  earlier  days  of  the  opera  the  female  as 
well  as  the  male  characters  were  acted  hy  men  (for  a 
long  time  women  were  not  allowed  upon  the  stage),  to 
which  end,  hy  an  artificial  process,  the  treble  voice  of 
boyhood  was  preserved  to  them  through  life.  Among 
such  male  soprani  may  be  mentioned,  Senesino, 
Bernacchi,  Caffarelli,  Farinelii ;  in  fact,  male  soprani 
continued  in  favour  with  the  pul)lic  long  after  the 
advent  of  female  opera  singers.  Of  the  latter,  Hawkins 
gives  a  long  list,  of  which  we  may  note  the  folloAving : 
San  Nicola,  Santini  (afterwards  the  wife  of  Ant  nio 
Lotti).  Boschi,  ^Irs.  Tofts,  Maria  Gallia  (who  took  the 
part  of  Eosamund  in  Clayton's  opera  of  that  name), 
Margarita  de  I'Epine,  Mrs.  Barbier,  Anastasia  Eobinson 
(afterwards  Countess  of  Peterborough),  Faustina ;  other 
celebrated  female  singers  of  the  last  century  were  Tesi» 
Cuzzoni,  Francesca  Gabrieli,  Mrs.  Billington,  Ac- 
Belonging  to  the  present  century  were  Catalani  (d.  1849), 
Sontag,  Clara  Novello,  Pasta,  Jenny  Lind,  Malibran, 
Giulia  and  Giulietta  Grisi,  Mara,  Alboni,  Titiens  {d. 
1877),  Patti,  Nillson,  Patey ;  some  of  whom  are  still 
living,  and  some  iu  retirement.     Among  the  tenor  and 


111.  48, 49.]  Art  Summary.  153 

bass  singers  of  the  last  fifty  ypars  are  :  Tambnrini, 
Lablaclie,  Staudigl,  Wachtel,  Rubini,  RatF,  Kelly, 
Mario,  Hrahaiu,  Sims  Reeves,  Santley,  &c.  Many  of 
these  artists  distinguished  themselves  in  oratorio  as 
well  as  in  opera. 

49.  The  ancient  schools  of  singing  have  been  succeeded 
by  Conservatoires  or  Academies,  where  every  branch 
of  the  mu-ical  art  is  cultivated  and  taught.  Amongst 
the  Academies  which,  possess  an  historic  fame  are  the 
Conservatoires  of  Milan,  Bologna,  Berlin,  Leipsic,  Paris, 
and  the  Royal  Academy  of  Music  in  London.  The 
Royal  Academy  of  Music,  which  was  founded  in  1822, 
and  afterwards  incorporated  by  Charter,  has  passed 
through  many  vicissitudes,  but  has  succeeded  in 
establishing  for  itself  a  position  worthy  of  the  English, 
nation,  and  has  given  to  the  world  many  esteemed 
musicians,  of  whom  the  late  Sterndale  Bennett  is  a 
notable  instance.  Other  institutions  established  for 
the  promotion  of  musical  learning  are,  the  College  of 
Organists,  established  in  1864,  for  the  benefit  of 
organists  and  other  church  musicians  ;  Trinity  College, 
London,  instituted  in  1872,  and  afterwards  incorporated 
by  Charter,  for  the  promotion  of  musical  and  general 
education ;  the  National  Training  School  for  Music, 
which  commenced  its  useful  work  in  1876  ;  the  Royal 
Irish  Academy  of  Music ;  and  other  important  insti- 
tutions, all  of  which,  in  their  several  capacities  and 
spheres  of  work,  have  combined  to  further  the  musical 
progress  of  this  country.  Nor  can  we  omit  a  reference 
to  the  Tonic  Sol-fa  movement,  which  for  s^everal  years 
has  been  spreading  through  our  own  and  other  English- 
speaking  countries,  and  has  undoubtedly  done  much 
to  improve  the  musical  knowledge  and  taste  of  the 
masses.  In  1875,  the  leaders  of  the  movement  obtained 
a  Charter  for  an  institution  which  bears  the  name  <.)f 
the  Tonic  Sol-fa  College,  and  many  connexional  choral 
bodies  have  been  formed,  and  trained  on  the  Tonic 
Sol-fa  principles,  the  most  important  of  which  are  the 


154  Jlistonj  of  Mush.  [iii.  49, 60. 

syllabic  notation  and  the  "  Moveable  Do."  It  is  not 
within  the  province  of  this  work  to  discuss  the  merits 
or  demerits  of  this  system,  about  which  there  has  been 
much  unprofitable  controversy. 

50.  It  now  only  remains  to  us  to  enumerate  the 
principal  writers  on  the  Science  of  music.  The 
voluminous  Latin  Treatise  of  Boethius  {d.  525)  was 
based  to  a  great  extent  upon  the  ancient  dissertations 
of  Pythagoras,  Aristoxenus,  Ptolemy,  and  others,  and 
entered  with  great  minuteness  into  the  mathematical 
ratios  of  intervals,  dealing  of  course  with  the  old  Greek 
scales.  Cassiodorus  {g.  470 — 560),  a  distinguished 
scholar  of  the  same  pei-iod,  a'so  wrote  concerning  the 
science  of  music,  but  added  little  or  nothing  to  the 
extensive  and  somewhat  mystic  lore  amassed  by 
Boethius.  Allusion  has  already  been  made  to  the 
more  practical  treatises  of  Gruido,  Isidore  of  Seville, 
and  Franco  of  Cologne.  Succeeding  writers,  such  as 
Odington,  Tiuctor,  De  Handlo,  GafFurius,  Franchinus, 
and  others,  founded  their  observations  on  the  Boethiau 
and  Guidonian  systems.  The  inauguration  of  the  modern 
science  is  due  chiefly  to  Dr.  William  Holder  (d.  1697) 
and  Rameau  (1683  —  1764).  Dr.  Holder's  treatise 
on  Harmony  (1694)  is  worthy  of  note  as  containing 
the  scheme  of  natural  harmonics,  familiarized  to  us  by 
the  later  works  of  Logier  and  Ouseley.  Hawkins  thus 
summarizes  this  portion  of  Dr.  Holder's  work :  "  He 
makes  a  concord  to  consist  in  the  coincidence  of  the 
vibrations  of  the  chords  of  two  instruments,  and  speaks 
to  this  purpose  : — If  the  vibrations  correspond  in  every 
Course  and  recourse,  the  concord  produced  will  be  the 
unison ;  if  the  ratio  of  the  vibrations  be  as  2  to  1,  in 
which  case  they  will  uiute  alternatelj'^,  viz ,  at  every 
course,  crossing  at  the  recourse,  the  concord  will  be  the 
octave.  If  the  vibrations  be  in  the  ratio  of  3  to  2, 
their  sounds  will  consort  in  a  fifth,  uniting  after  every 
second,  i.  e.,  at  every  other  or  third  course ;  and  if  as 
4  to  3,  in  a  diatessaron  or  fourth,  uniting  after  every 


III.  50.]  Art  Summary.  155 

third  recoursp,  viz.,  at  every  fourth  coui'se,  and  so  of 
the  other  consonances  according  to  their  respective 
ratios."  On  that  part  of  the  theory  of  music  which 
relates  to  the  formation  or  derivation  of  chords  there 
have  been  many  writers,  but  among  tliese  none  has,  we 
imagine,  been  the  cause  of  so  niucli  controversy  among 
musicians  as  .the  theories  of  Dr.  Day,  whose  chief 
exponent  at  the  present  time  is  Professor  Macfarren. 
To  explain  the  respective  doctrines  held  by  Day, 
Ouseley,  and  Stainer  would  need,  to  do  justice  to  the 
subject,  a  separate  work ;  here  we  can  only  assure  the 
young  student  that  whatever  ditlerences  ipay  exist 
among  theorists  as  to  the  etymology  of  a  chord  (e.  g., 
whether  it  has  one  root  or  two  roots)  the  mode  of  its 
employment  and  res  ilution  are  identical  in  every  case 
— that  is,  the  practical  elfect  is  the  same.  The  harmony 
treatises  of  Crotch,  Catel,  Callcott,  and  Goss,  have  dealt 
almost  exclusively  with  the  practical  side  of  the  subject. 
The  works  of  the  three  furmer  writers,  however,  are  gen- 
erally regarded  as  being  "  behind  the  times."  Of  Counter- 
point and  Fugue  the  most  prominent  expositoi-s  have 
been  :  Zarlino  (1517—1593),  Fux,  or  Fuchs  (1660— 
1732),  Padre  Martini  (1706— 1784),  if a?-^;M/-^  (1718— 
1795),  Albrechtsberger  (1736—1809),  Chemhini  {\1  %0 
—1842),  and  Eeicha  (1770—1836).  Bach's  Art  of 
Fugue,  published  in  1748,  is  simply  a  collection  of  line 
examples,  all  on  one  subject,  of  this  form  of  composition. 
Chief  among  the  critics,  historians,  and  miscellaneous 
writers  on  musical  science  and  art,  during  the  past  and 
present  centuries  are :  J.  Mattheson  (168 1 — 1 764),  essay- 
ist and  historian;  J.J.Rousseau  (1712 — 1778),  essayist; 
Sir  John  Hawkins  (1720 — 1791),  historian;  Dr.  Charles 
Burney  (1726— 1814),  historian;  O.  F.  Langle  (1741 
— 1807),  theorist;  Gretry  (1741—1813),  essayist; 
J.  N.  Forkel  (1749 — 1818),  essayist  and  historian; 
C.  F.  Zelter  (1758—1832),  essayist;  A.  E.  Choron 
(1772—1834),  theorist;  Giuseppe  Baini  (1775—1844), 
historian;    F.    J.    Fetis   (1784 — 1872),    essayist   and 


156  Hifitory  of  Music.  [in.  50,  51. 

historian;  A.  B.  Marx  (1799  — 1866),  theorist  j 
H.  Berlioz  (1803 — 1869),  essayist;  E.  Schumann 
(1810 — 1856),  essayist;  also  Ambros,  Liszt,  Engel, 
Eimbault,  Chappell,  Hullah,  Eitter,  &c.,  &c. 

51.  There  is,  however,  another  and  a  distinct  class 
of  musical  philosophers,  whom  we  may  call  the 
SCIENTISTS  of  the  present  day ;  men  whose  researches 
as  physicists  have  led  them  into  a  special  inquiry  into 
the  natural  laws  and  phenomena  of  sound.  To  this 
class  belong  Wheatstone,  Tyndal,  Blaserna,  and  many 
others  whose  names  must  be  familiar  to  every  reader 
of  contemporary  musical  literature.  But  undoubtedly 
the  most  distinguished  amongst  musical  scientists  is 
Helmholtz,  the  German  physicist  and  physician,  whose 
work  Die  Lehre  von  den  Tonempfindungen,  recently 
translated  into  English  by  Mr.  A.  J.  Ellis,  has  opened, 
as  it  were,  a  new  world  to  the  view  of  the  musician. 
It  may  be  said  that  the  art  of  music  profits  little  by 
these  physical  discoveries ;  but  while  the  science  is 
still  in  its  infancy,  we  cannot  predicate  with  certainty 
concerning  the  result  of  all  this  recent  research.  It 
may  be  that,  at  any  moment,  whUe  the  pen  is  in  the 
hand,  or  the  lips  are  moved  to  speech,  some  sudden 
burst  of  light,  some  new  and  splendid  apocalypse,  shall, 
by  the  insfrumentality  of  science,  irradiate  the  whole 
world  of  music,  revealing  forms  of  beauty,  and  spheres 
of  vision,  hitherto  beclouded  or  unknown. 


EXAMINATION   QUESTIONS.* 


SECTION   I. 

1  What  do  you  know  of  the  musical  scales  of  the 

Greeks  1 

2  From  whom  did  the  Greeks  derive  the  rudiments 

of  their  musical  knowledge  1 

3  In  what  sense  is  the  term  "  Harmony  "  employed 

by  the  Greek  writers  1 

4  Who  were  the  most  noted  among  Greek  Theorists? 

5  Who    introduced    the    art    of     flute-playing    into 

Greece  ] 

6  What  ancient   nation   employed   Greek  slaves  as 

singers  and  players  1 

7  When  may  the  history  of  music  as  a  separate  art  be 

said  to  commence  ] 

8  About  what  date,  and  by  whom,  was  the  first  singing 

school  instituted  in  Rome  1 

9  Upon  what  evidence  do  we  infer  that  St.  Sylvester 

was  acquainted  witli  the  method  of  antiphonal 
chanting  1 

10  When  did  St.  Ambrose  live ;  and  what  did  he  do 

for  Church  Music  1 

11  What  Avere  the  "Authentic  Modes  1"  The  "  Plagal 

Modes  'i  "   Give  a  list  of  them  as  arranged  by  St. 
Gregory. 

•  The  Student  is  requested  to  search  out  for  himself  the  answers 
to  these  questions,  the  numbers  prefixed  to  them  having  (designedly) 
no  reference  to  the  body  of  the  work. 


158  Examination  Questions. 

1 2  What  was  meant  by  the  term  Diaphony  1  Organum  1 

13  Name  some  of  th-^  improvt^ments  effected  by  Guido 

in  the  old  system  of  notation. 

1 4  What  title  has  been  applied  to  Giiido  % 

15  From  what  devices  are  our  present  C  and  F  clefs 

derived  1 

16  "When  was  the  note  Si  introduced? 

17  Who  introduced   the  system  of  musical  measure 

[nivsica  mensiirahilis)  % 

18  Give  the  names  and  shapes  of  the  notes  used  by 

Franco. 

19  What  Avas  the  state  of  counterpoint  in  Franco's  time  ] 

20  Who  was  the  inventor  of  "  rest "  signs  ] 

21  Give  some  account  of  Adam  de  la  Hale. 

22  Name  some  of  the  most  distinguished  troubadouis 

of  De  la  Hale's  time. 

23  Who  has  been  credited  with  baving  established  the 

first  correct  principles  of  consonances  and  dis- 
sonances % 

24  To  whom   is   ascribed   the   introduction  of   florid 

counterpoint  ] 

25  State  what  you  know  of  Dufay,  and  of  tbe  rise  of 

the  Belgian  School. 

26  Which  of  the  early  Belgian  composers  has  been 

styled  "  the    Sebastian    Bach    of    the    fifteenth 
century,"  and  on  what  grounds  1 

27  What  is  your  impression  concerning  the  character 

of  the  "  fugues  "  composed  by  the  early  Belgian 
masters? 

28  Des  Pr^s  effected  an  important  advance  in  the  art 

of  musical  composition.     What  was  it? 

29  Name  some  of  the  most  distinguished  pupils  of  Des 

Pr^s. 

30  What  was  Luther's  opinion  of  Des  Pres'  music  1 

31  A  pupil  of  Des  Pres  has  been  styled  "  the  founder 

of  the  Venetian  School."     Give  his  name. 

32  To   whoux   xo   ascribed    the    introduction    of    the 

Madrigal  ? 


Examination  Quedions.  159 

33  Who  was  the  most  distinguished  contemporary  of 

Willaert  1 

34  Who  introduced  the  chromatic  element  into  musical 

composition  ] 

35  Who    was    the    first    to    use    the    terms    Adagio, 

Allegro,  &c.  ] 

36  What  were  the  principal  failings  of  tlie  Belgian 

School  1 

37  When    was    the    organ-pedal    invented,    and    by 

whom  ] 

38  Give  the  date  of  the  invention  of  moveable  music- 

types,  and  the  name  of  the  inventor. 

39  Who  has  been  called  the  "father  of  English  contra- 

puntists ] " 

40  Who  wrote  the  anthem,  I  will  exalt  Thee,  0  Lord  ? 

41  What  was  Merbecke's  principal  work  ] 

42  Give  a  short  account  of  Thomas  Tallis. 

43  Which   of   the  early  English   musicians   wrote   a 

motett  in  forty  parts '? 

44  Give  the  name  of   a  famous    canon  by  William 

B}Tde. 

45  Who  was  the  first  professor  of  music  at  Greshara 

College  1 

46  What  was  "  The  Virginal  Book  ] "  for  whom  was  it 

written?  . 

47  Give  the  title  of  a  celebrated  collection  of  madrigals 

published  about  the  beginning  of  the  seventeenth 
century,  and  name  some  of  the  principal  con- 
tributors to  the  work. 

48  Who  was  Constanzo  Festa  ]     What  is  his  place  in 

the  history  of  Church  Music  ] 

49  l!^ame  a  distinguished  pupU  of  Goudimel. 

50  Give  an  account  of  the  controversy  which  occasioned 

the  production  of  Missa  Papae  Marcelli. 

51  What  was  the  name  given  to  the  style  of  composition 

of  which  Missa  Papae  Marcelli  was  the  inaugu- 
ration ? 

52  Who  was  I^anini  1 


160  Examination  Qitestions. 

53  A  six-part  motett,  Lcanentabatur  Jacobus,  composed 

by  a  Spaniard,  is  still  performed  in  the  Sistine 
Chapel  at  Rome.     Give  the  name  of  the  composer. 

54  In  what  style  of  composition  did  Marenzio  particu- 

larly excel  1 

55  Who  introduced  instrumental  accompaniments  in 

the  music  of  the  Church  1    Name  the  instruments 
emjdoyed  by  this  composer. 

56  Trace  the  origin  of  the  Opera. 

57  What  was  miisica  j^cirlante  ? 

58  Give  the  name,   date,   and  composer  of   the   first 

Italian  Opera. 

59  On  what  special  occasion  was  Eurldice  produced  1 

60  To  what  great  composer  of  the  seventeenth  century 

was  it  reserved  to  give  a  more  pronounced  form 
to  the  Opera  1 

61  For  what  practices  was  Monte verde  subjected  to 

the  unfavourable  criticisms  of  his  contemporaries  1 

62  Name  the  principal  Operas  of  Monte  verde. 

63  Give  an  account  of  the  circumstances  attending  the 

rise  of  Oratorio. 

64  Account  for  the  term  Oratorio,  as  applied  to  that 

cla-s  of  composition. 

65  What  was  the  first  oratorio  produced,  and  who  was 

the  composer  ? 

66  Name  some  of  the  improvements  effected  in  oratorio 

by  Carissimi, 

67  An  oratorio  by  Carissimi  has  recently  been  revived. 

Give  the  title. 

68  Which  of  the  Italian  composers  is  said  to  have 

written  the  first  Church  concertos  and  solo  songs 
for  the  Church  % 

69  Give  the  earliest  known  date  of  the  employment  of 

the  hasso  continuo,  or  figured  bass. 

70  Name   an   accomplished    Italian    Organist    of    the 

seventeenth  century. 

71  Who    was    "the   first    to   write   harmony  as    dis- 

tinguished from  counterpoint  ] " 


Examination  Questions.  161 

72  Name  the  best-known  composition  of  Allegri. 

73  To  whom   is   attributed   the  introduction   of  the 

Chorale  1 

74  Who  was  the  "  father  of  Geinian  Oratorio?" 

75  Give  the  title  of  the  first  German  Opera,  the  date 

of  its  production,  and  the    name    of   the   com- 
poser. 

76  To   Avhat    important    musical    post    was    Gibbons 

appomted  ] 

77  Name  a  well-known  Anthem  by  Orlando  Gibbons. 

78  By  what  well-known  composition  is  Matthew  Lock 

chiefly  remembered  ]     Is  it  universally  admitted 
that  Lock  composed  that  work  1 

79  Name  "  the  greatest.  English  musical  genius." 

80  Who  was  Henry  Purcell's  master  1 

81  Enumerate  the  principal  amongst  Purcell's  works. 

82  Who  was  Dr.  Aldrich  ?  ^ 

83  Name  an  anthem  by  Dr.  Croft  containing  a  six- 

part  fugue. 

84  Who  composed  the  celebrated  anthem,  Hear  my 

crying  / 

85  Give  a  short  account  of  Dr.  Boyce,  naming  some  of 

his  principal  works. 

86  A  contemporaiy  of  Boyce  wrote  as  many  as  twenty- 

three  operas.     Give  his  name. 

87  Name  an  anthem  by  Battishill,  written  for  seven 

voices. 

88  What  German  composer  is  supposed  to  form  the 

link  between  Schlitz  and  Bach  1 

89  Who  wrote  TIte  Bleeding  and  dying  Jesus  ?      In 

what  respect  does  the  plan  of  this  work  differ 
from  that  of  the  Passion-music  of  Bach  % 

90  Give  an  account  of  the  career  of  Sebastian  Bach. 

9 1  How  many  Passion-oratorios  did  Bach  write  ? 

92  What   was    the    mode    of   performance   originally 

intended  for  the  Christmas  Oratorio  ? 

93  Did  Bach  write  any  music  for  the  Roman  Church  t 

94  Describe  the  Suites  Anglaises. 

11 


162  Examination  Questiom. 

95  Which  of  the  sons  of  Sebastian  Bach  introduced  a 

new  system  of  fin.ering  in  clavichord  playing? 

96  Give  an  account  of  the  earlier  years  of  Handeh 

97  AVhat  was  Handel's  first  opera  ]  His  first  oratorio  "? 

98  From  wliat  earlier  work  was  the  Acis  caul  Galatcu 

of  Handel  in  part  deiived  1 

99  When  and  where  was  Handel's  EdliP.r  first  per 

formed  1 

100  Who  was  the  most  favoured  rival  of  Handel  1 

101  Where  was  the  Messiah  first  performed,  and  with 

what  result] 

102  Give  a  list  of  Handel's  Oratorios. 

103  A  German    contemporary  of    Handel  was  much 

admired  by  the  Italians,  who  named  him  "  the 
divine  Saxon."     Give  his  name. 
10+  Who  was  the  composer  of  Der  Tod  Jesu? 

105  "  Mozart  was  greaily  impressed  with  the  beauty  of 

Medea."     Who  composed  tlie  opera  referred  tol 

106  In  what  respects  did  Alessandro  Scarlatti  improve 

the  opera  1 

107  Name  some  of  the  principal  masters  of  fugue  in 

the  eighteenth  century. 

108  AATien  and  by  Avhom  was  the  Italian  Opera  intro- 

duced into  France  1 

109  Who  is  regarded  as  the  originator  of  the  overture] 

110  Give  an  account  of  Les  Boujfons.     What  influence 

did  they  exercise  upon  the  lyric  stage  in  France  1 

111  State  the   circumstances  of  the  rivalry  between 

Gluck  and  Piccini. 

112  Who  is  generally  regarded  as  the  founder  of  the 

modern  symphony  % 

113  Name  the  principal  operas  of  Mozart. 

114  Who    added     to    the    accompaniments    in     the 

Messiah  ? 

115  What  was  the  Liedertafel  ?     Who  organized  iti 

116  Which  of  the  French  composers  in   Beethoven's 

time  was  in  his  opinion  '*  the  most  estimable  of 
living  musicians  ] " 


Examination  Questions.  163 

117  How  many  symphonies  did  Beethoven  writs'? 

118  What  was  the  orighial  title  of  the  opera  Fldelio  7 

State  Avhat  you  know  of  the  history  of  this  work. 

119  To  what  cause  did   Beethoven  owe  much  of  his 

command  of  orchestral  resources  ] 

120  What   was   the  nature    of   Beethoven's    physical 

affliction,  and  at  what  period  of  his  career  did  it 
become  apparent  % 

121  In   what    capacity   was    Hummel    considered   a 

fonnidable  rival  of  Beethoven  ] 

122  Name  the  most  remarkable  of  the  operas  composed 

by  Spontini. 

123  Eelate  the  circumstances  attending  the  death  of 

Weber. 

124  It  is  said  that  Weber  introduced  a  new  feature  in 

the  treatment  of  the  opera-overture ;  what  was  it  ] 

125  Who  composed  The  Erl-K'mgl 

126  When  and    under   what   circumstances   was   the 

Lohgesang  produced  ] 

127  Who  was  the   founder  and  first   director  of  the 

Leipsic  Conservatorium  of  Music  ] 

128  On  what  occasion  was  the  Elijah  produced  % 

129  What  is  a  remarkable  characteristic  of  Chopin's 

music  1 

130  Name  a  celebrated  motett  by  Dr.  Crotch. 

131  Give  the  name  of  the  composer  of  a  concert-over- 

ture, entitled  The  Wood  Nymph. 


I 


SECTION  IL 


132  Write  out,  from  memory,  the  principal  musical 
epochs  and  events  of  the  first  five  centuries  after 
Christ. 


164  Examination  Questions. 

133  Who  was  the  principal  musician  of  the  eleventh 

century ] 

134  What   remarkable   musical   event  took   place  in 

Germany  about  the  year  1200  ] 

135  About  what  period  did  Fi-anco  introduce  the  system 

of  mensurable  music  1 

136  !Rame  the  principal  musicians  of  the  fourteenth 

century. 

137  In  the  fifteenth  century,  three  celebrated  composers 

were  bom  the  same  year.     Who  were  they  ] 

138  What  was  the  prevalent  "  School"  or  style  of  the 

thirteenth  century  ? 

139  !Name    the    principal   contemporaries    of    Tallis, 

i.  Englisih ;  ii.  German  ;  iii.  Italian  ;  and  assign 
to  each  his  characteristic  as  a  composer. 

140  Give  the  date  of  the  introduction  of  copper-plate 

engraving  for  the  printing  of  music. 

141  Two  celebrated  English  composers  died  the  same 

year  in  the  sixteenth  century.     Name  them. 

142  At   what   date   was   the   Violin  introduced  into 

England  ;  and  by  whom  ] 

143  Give  the  date  of  the  production  of  the  fir.-t  opera. 

144  Give  the  title  and  date  of  the  first  Oratorio. 

145  When    was     the    harpsichord     introduced    into 

England  ? 

146  Give  the  dates  of  the  first  German,  English,  and 

French  Operas  respectively,  with  their  titles  and 
authors. 

147  When  was  the  Macbeth  Music  published  1 

148  In  one  year  of  the  seventeenth  century  two  great 

German  musicians  were  boru.     Give  their  names. 

149  Who  were  Purcell's  contemporaries  at  home  and 

abroad  ] 

150  Give   the   dates  of   the   production   of   Handel's 

Esther,  Messiah,  Israel  in  Egypt. 

151  When  was  introduced  a  new  system  of  fingering 

for  the  clavichord,  and  what  was  the  principal 
innovation  1 


Examination  Questions.  165 

152  In  what  year  took  place  the  first  Handel  com- 

memoration ] 

153  When    was     tlie    bassoon    introduced     into    the 

orchestra  ] 

154  When  was  Haydn's  Creation  produced? 

155  Name  the  principal  contemporaries  of  Beethoven. 

156  In  the  year  1809  a  great  German  master  died,  and 

another  distinguished  German  composer  was  born. 
Name  them. 

157  Give  the  dates  of  birth  and  death  of  Beethoven. 

158  Give  the  dates   respectively  of  the  invention  of 

pedals  to  the  harp  and  of  the  double  action  by 
Erard. 

159  Name  six  of  the  m"st  distinguished  French  com- 

posers of  the  pre>!ent  century. 

160  Give  a  list  of  the  leading  English  musicians  during 

the  reign  of  Queen  Victoria. 


SECTION  III. 


161  What  were  the  Ambrosian  chants  I 

162  Describe  the  antijihonal  mode  of  singing. 

163  Define  the  terms  Decani,  Cantoris,  Precentor. 

164  Can  you  account  for  the  origin  of  the  modem  major 

and  minor  scales  1 

165  Write  out  the  following  "  Gregorian  modes,"  mark- 

ing  the    semitones:   Dorian;    Phrygian;    Hypo- 
Lydian ;  Mixo-Lydian. 

166  Give   specimens   of    Organum   or   Diaphony,   as 

practised  by  Hucbald  or  Guido. 

167  Write   out   the   divisions   of   the   great  stave  of 

eleven  lines. 

168  Of  how  many  lines  did  the  stave  generally  used  in 

the  thirteenth  century  consist  ] 

169  Who   is  supposed  to   have   founded  a  Chair  of 

Music  at  Oxford  ] 


166  Examination  Questions. 

170  To   whom    is    attributed   the   invention   of    the 

Canon  ? 

171  Define  Counterpoint,  Canon,  Canfus  iirmus. 

172  Who  is  to  be  regarded  as  the  first  composer  of 

modern  music  ;  and  for  what  reason  'I 

173  What  was  the  art  of  Descant]    Faburdeni  Write 

a  specimen  of  the  latter. 

174  Describe  the  orchestra  employed  at  the  performance 

of    UAnima  e  Corjyo  by  the  direction   of  the 
composer. 

175  Give  a  list  <»f  the  principal  composers  of  Oratorio. 

1 76  En  urn-  rate  the  movements  in  the  Missa  Sollennis  of 

the  Roman  Church. 

177  What  distinguishes  the  Eequiem  from  the  ordinary 

Massl 

178  Name  any  composers  who  have  written  Eequiem 

Masses. 

179  Describe  the  various  kinds  of  Anthems  in  use  in 

the  English  Church. 

180  Can  vou  name  any  peculiarity  in  the  construction 

of  the  "Old  Hundredth r' 

181  Describe  the  Madrigal,  and  give  a  list  of  the  most 

noted  composers  of  madrigals. 

182  What  is  hasso  continuo  ?     For  what  purpose  was 

it  introduced,  and  what  is  the  pimcipal  use  made 
of  it  in  the  present  day  1 

183  Xame  four  operas  which  may  be  regarded  as  so 

many  landmarks  in  operatic  history. 

184  What  are  the  principal  theories  of  Eichard  Wagner 

in  regard  to  the  musical  drama  1 

185  Who  was  Metastasio  ] 

186  What    English    monarch    employed   a   band   of 

hautboys  ] 

187  Describe  some  of  the  principal  dance  forms  in  the 

suites-des-j/ieces. 

188  Mention  some  of  the  most  distinguished  writers 

of  suites. 

189  What  is  a  "  Sonata  1" 


Examination  Questions.  167 

190  l^ame   three   great    composers   who    assisted    in 

establishing  the  modern  binary  form. 

191  Define  the  term  Musica  di  Camera. 

192  What  is  the  pLace  of  the  Concerto  in  instrumental 

music  ? 

193  Xame  any  well-known  composer  who  has  written 

a  Concerto  for  the  Flute  1 — for  the  Clarinet  % — 
for  the  Organ  ] 

194  Define    the   Symphony,  in   the   old   and   in   the 

modern  sense. 

195  Who  is  the  "father  of  the  modern  Symphony?" 
196.  Give  instances  of  the  employment  of  the  harp  in 

oratorios  by  Handel. 

197  Describe    the    Spinet,    the    Virginals,    and    the 

Harpsichord. 

198  Mention  some  of  the  earliest  makers  of  the  hammer- 

clavier.     AVhat  is  the  name  usually  given  to  this 
in>»trument  1  and  for  what  reason  ] 

199  Describe  the  more  important  varieties  of  the  Lute. 

200  Give  a  brief  account  of  the  ancient  viol  family, 

and   describe  the   piincipal  bowed   instruments 
now  in  use. 

201  Describe  the  old  Cornet,  Recorder,  and  Pilgrim's 

Staff. 

202  How  do  you  account  for  the  higher  compass  of  tlie 

trumpet  as  indicated  in  the  orchestral  scores  of 
the  last  century  1 

203  Name  as  many  as  you  can  of  the  principal  organ- 

buiJders  of  the  eiglneenth   century,  mentioning 
the  improvements  introduce- 1  by  some  of  them. 

204  Mention  some   of   the   most    celobrated  amongst 

Engli?h  Organists. 

205  What  great  P'rench  composer  made  a  special  study 

of  the  efi'ects  to  be  obtained  from  the  drum  ■? 

206  Mention  some  of  the  greatest  female  singers  of  the 

last  and  present  centuries. 


168 


LIST  OF  MUSICAL  EXAMPLES. 


Ex.  Paok 

1  Table  of  Gregorian  Tones        82 

2  Ambrosian  Chants        ...  ...  ...  ...  ...     85 

3  Organum  or  Diaphon)'  ...  ...  ...  ...     87 

4  Cantus  and  discantus  at  octave  ...  ...  ...     88 

5  Ut  (pieant  laxis  ...  ...       GuiDO     ...  ...     88 

6  Divisions  of  the  great  stave  of  eleven  lines    ...  ...     89 

7  Rudimentary  forms  of  C  and  F  Clefs  ...  ...      90 

8  Example  of  Counterpoint        ...       Fraxco 90 

9  Melody  from  llubin  and  Marlon     De  la  Hale       ...     92 

10  Canon  for  two  voices DUFAY 93 

11  Commencement  of  a  Canon     ...      JUSQUIN  des  Pkes     94 
12 — 16  Various  species  of  Counterpoint  ...  ...     95 

17  Example  of  Faburden  ...       Mor.LEY  ...     96 

18  Recitative  from  Jonah  ...       Carissimi  ...  100 

19  Chorus  from  Jonah      Cakissimi  ...   101 

20  Chorus  from  an  Opera  ...       Caccini  ...         ...   101 

21  Evening  Hymn  (Canon)  ...      Tallis     109 

22  Old  Hundredth  as  an  Infinite  Canon 109 

23  Examples  of  imitation  in  Chorales     ...  ...  ...   110 

24  Commencement   of   Madrigal, 

Bissi  a  Vamata        ...  ...       Maeknzio  ...  112 

23  Recitative  from  Or/eo  ...      Monte  VERDE     ...   116 

26  Duet  from  Or/eo  Monteverde     ...   116 

27  Corauto  (quotation  from)         ...       WniTELOCKE      ...   12J 

28  AUemande      „         „  ...       DuMONT  ...   124 


29  Gavotte  „ 

30  Galliard  „ 

31  Gigue  or  Jig  „ 

32  Sarabande      „ 
S3  liesson  for  the  Lute 


...       Bacm  ...  125 

Frescobaldi     ...  125 

...      Eccles 126 

PURCELL  ...    126 

Ml/ Mistress   Thomas  Mace   ...  141 


169 


LIST  OF  MUSICAL  WORKS 


MENTIONED  IN  THE  TEXT. 


Abencerages,  Les,   Chertibini,  i. 

61 
Abu  Hassan,  Weber,  i.  55 
Aci  Galatea  e  Polifeino,  Handel, 

i.  41 
Acis  and  Galatea,  Handel,  i.  41 
AdiTietus,  Handel,  i.  41 
^tius,  Handel,  i.  41 
Agrippina,  Handel,  i.  41 
Aida,  Verdi,  i.  67,  iii-  25 
Alceste,  Gluck,  i.  45,  46,  iii.  25 
Alexander,  Handel,  i.  41 
Alexander's  Feast,  Handel,  i.  41 
Ali  Baba,  Chertibini,  i.  51 
Aline,  Bert  oh,  i.  44 
Almira,  Handel,  i.  41,  iii.  25 
Anacreon,  CIterubini,  i.  51 
Ancient  Mariner,  Barnctt,  i.  65 
Anthems  for  two  Choirs,  Men- 
delssohn, i.  58 
Antigone,  Mendelssohn,  1.  58 
Arbaces,  Handel,  i.  41 
Ariadne,  Hnndel,  i.  41 
Ariadne  auf  Naxos,  Hiller,  i.  42 
Ariadne  auf  Nexos,  Benda,  iii. 

25 
Arianna,  Monteverde,  i.  32 
Armide,  Gluck,  i.  20,  iii.  25 
Arsinoe,  Clayton,  iii.  25 
Art  of  Fugue,  Bach,  i.  40 
Artamene,  Gluck,  i.  45 
Artaxerxes,  Gluck,  i.  45;  Arne, 

iii.  25 
Ascribe  unto  the  Lord,  Travers, 

i.  38,  iii.  20 
Athaliah,  Handel,  i.  41 
Awake,  sweet  love,  Dowland,  iii. 

22 


Babylon,  SpoJir,  i.  54 
Barbe  Bleu,  Offenbach,  i.  66 
Barbiere  di  Siviglia,  Rossini,  i. 

63 
Behold,  how  good   and  joyful, 

Clarke  JVhitfeld,  iii.  20 
Helsliazzar,  Handel,  i.  41 
Benvenuto  Cellini,  Berlioz,  i.  61, 

iii.  25 
Berenice,'  Handel,  i.  41 
Bleeding  and  Dying  Jesus,  The, 

Keiser,  i.  39,  iii.  17 
Blessed  be  the  God  and  Father, 

Wesley  {S.  S.),  i.  64 
Blessed  is  he  that   consideroth, 

Xares,  iii.  20 
Blest   pair  of    Sirens,   Stafford 

Smith,  iii.  23  [25 

Bohemian  Girl,  Balfe,  i.  64,  iii. 
Bune  Jesu,  Viadana,  i.  34 
Bow  down  thine  ear,  Byrde,  iii. 

20 
By  Celia's  Arbour,  Horsley,  iii. 

23 
By  the  waters  of  Babylon,  Boyce, 

i.  38,  iii.  20 

Caduta  del  Giganti,  Gluck,  i.  45 
Call  to  Remembrance,  Battishill, 

i.  38,  iii.  20 
Calm  Sea  and  prosperous  Voyage, 

A,  Mendelssohn,  i.  58 
Calyary,  Spohr,  i.  54,  iii.  17 
Captiyity,  Crotch,  i.  64,  iii.  17 
Carlo  Re  d' Alniagna,  Scarlatti, 

iii.  25 
Castor  and  Pollux,  Maineau,  i. 

44,  iii.  2d 


170 


List  of  Musical  Works. 


Cendrillon,  Isotiard,  i.  44,  iii.  25 
Chandos  Te  Deuins  and  Anthems, 

Handd,  iii.  20 
Chaplet,  The,  Boyce,  iii.  25 
Chilperic,  Herce,  i.  66 
Christmas  Oratorio,  The,  Bach, 

i.  40 
Christus,  Mendelssohn,  i.  58 
Clemenza  di  Tito,  Ghick,  i.  45 
Clemenza  di  Tito,  Mozart,  iii.  44 
Clyt<;mnestra,  Gluck,  i.  45 
Come,  Holy  Ghost,  Attwood,  i. 

64,  iii.  20 
Corsair,  The,  Coweti,  i.  65 
Cortez,  Spout  in  i,  i.  62 
Cosi  fan  tutte,  Mozart,  i.  48 
Counterpoint,  Cancm,  and  Fugue, 

Chef'ibiiti,  i.  51 
Creation,  Haydn,  i.  47,  iii.  16 

Dafne,  Peri,  i.  32,  iii.  25 
Daphne,  Schiitz,  i.  35,  iii.  25 
Daphne,  Handel,  i.  41 
Das  Liebesverbot.  Warner,  i.  69 
Das  Rheingold,  Wagner,  i.  69 
Das  Vater  Unser,  jSaiimanH,\.  42 
Death  of  Abel,  Leo,  i.  43,  iii.  17 
Deborah,  Handel,  i.  41 
Deluj^e,  Cotcen,  i.  65 
Denietrio,  Gluck,  i.  45 
Demophon,  Cheruhini,  i.  51 
Der  Freischiitz,  Weber,  i.  55 
Der      Ring     der     Nibelungen, 

Wffffiier,  i.  69 
Der  Tod  Jesu,  Hasse,  i.  42 
Der  Tod  Jesu,  Graun,  iii.  17 
Desert,  The,  David,  i.  61 
Dettingen  Te  Deum,  Handel,  i. 

41 
Deux  Savoyards,  Lea,  B' Alayrac, 

iii.  25 
Devil  on  Two  Sticks,  the,  Haydn, 

i.  47 
Dido,  Handel,  i.  41 
Dido  and  -3ineas,  Purcell,  i.  37, 

iii.  25 
Die  Entfiihrung  aus  dem  Serail, 

Mozart,  i.  48 
Die  Walkiire,  Wagner,  i.  69 
Die  Weihe  der  Tone,  Spohr,  i.  54 

iii.  32 
Dinorah,  Meyerbeer^  i.  67 


Diocletian,  Purcell,  i.  37 

Dis.si  a  I'Amata,  Marenzio,  iii.  22 

Domino  Noir,  Aiiher,  i.  61 

Don  Carlos,  Costa,  i.  65 

Don  Giovanni,  Mozart,  i.  48,  55, 

iii.  25 
Donna  del  Lago,  La,  Mossini,  i. 

63 
Don  Pasquale,  Donizetti,  i.  63 
Don  Quixote,  Purcell,  i.  37 

Ein'  feste  Burg,  &c.,  Luther  (?), 

iii.  20 
Eli,  Costa,  i.  65 
Elijah,  St.  Paul,   Mendelssohn, 

i.  58,  iii.  17 
Eliza,  Cherubini,  i.  51 
Episode   de  la  vie  d'un  artiste, 

Berlioz,  i.  61. 
Erl  King,  Schubert,  i.  56 
Erlkiug's  Daughter,  Gade,  i.  68 
Ernani,  Verdi,  i.  67 
Eroica  Symphony,  Beethoven,  iii. 

32 
Esther,  Handel,  i.  41 
Euphrosyne,  Mehul,  i.  51,  iii.  25 
Euridice,  Peri,  i.  32 
Euridice,  Caccini,  iii.  25 
Euryanthe,  Weber^  i.  55,  iii.  25 
Evening  Hynm,  Tallis,  i.  26,  iii. 
[21 
I'airy  Queen,  Purcell,  i.  37 
Fanchon,  Himniel,  i.  42,  iii.  25 
Faniska,  Cherubini,  i.  51 
Fantasias,  Schumann,  i.  59 
Fantastique,  Berlioz,  i.  61 
Father  of  Heaven,    Walmisley, 

iii.  20 
Faust,  Gounod,  i.  66,  iii.  25 
Faust,  Schumann,  i.  59 
Faust,  Spohr,  i.  54,  iii.  25 
Faust  Symphony,  Liszt,  iii.  32 
Favorita,  La,  Donizetti,  i.  63 
Ferdinand,  Spontini,  i.  62 
Festgesiing,  Mendelssohn,  i.  58 
Fidelio,  Beethoven,  iii.  25 
Figaro,  Mozart,  i.  48,  iii.  25 
Fille  du  Reguuent,  Donizetti,  i. 

63 
Fingal's  Cave,  or  The  Hebrides, 

Mendelssohn,  1.  58 
Flavius,  Handel,  i,  41 


List  of  Musical  Works. 


171 


Fliegende  Holliinder,  Wagner,  i. 

69 
Flora  gave   me  fairest   flowers, 

Wilbije,  iii.  22 
Floridaiite,  Handel,  i.  41 
Florinda,  Handel,  i.  41 
Fra  Diavolo,  Auber,  i.  61,  iii.  25 
Freischiitz,  Weber,  iii.  25 
Fugue  (Treatise  on),  Reicha,  i.  53 
Funeral  March,  Chopin,  i.  60 

Galops,  Chopin,  i.  60 
Genevieve,  iSchumann,  i.  59,  iii. 

25 
Gipsy's  Warning,  Benedict,  iii. 

25 
Giulio  Cesare,  Handel,  i.  41 
God  is  gone  up.  Croft,  i.  38,  iii. 

20  [29 

Golden  Sonata,  Purcell,  i.  37,  iii. 
Gotterdiiinmcrung,  Wayner,i.  69 
Gradusad  Pamassuu),  Clenienti, 

i.  50 
Gradus  ad  Pamassura,  Fax,  i.  47 
Great  God,  what  do  I  see  and 

hear,  Luther  (?),  iii.  20 
Guglielmo  Tell,  Rossini,  i.  63, 

iii.  25 

Hagar,  Ouseley,  i.  65 

Hagar's  Lament,  Schubert,  i.  56 

Hail,  smiling  morn,  Spofforth, 
iii.  23 

Hallelujah,  Beethoven,  i.  52 

Hamlet,  Thomas,  i.  66,  iii.  25 

HHrmonious  Black-saiith,  Han- 
del, i.  41 

Harmony  and  Thorough-bass, 
Goss,  Ouseley,  i.  65 

Harold  en  Italic,  Berlioz,  i.  61 

Hear  my  crying,  Weldon,  i.  38. 
iii   20  [20 

Hear  my  prayer,  Kent,  i.  38,  iii. 

Hercules,  Ilui'del.  i.  41 

Hermann  and  Dorothea,  Schu- 
mann, i.  59 

Hezckiah,  Hatton,  i.  60 

History  of  Music,  Hawkins,  iii.  2 

Husanna  to  the  S-,>n  of  David, 
Gibbons,  i.  36,  iii.  20 

How  dear  are  Thy  Counsels, 
Crotch,  iii.  20 


Huguenots,  Les,  Meyerbeer,  iii. 
40 

I  beheld,  and  lo,  Blow,  i.  36,  iii. 

20 
I  call  and  cry,  Tallis,  iii.  20 
Idomeneo,  Mozart,  i.  48 
If  we  believe  that   Jesus  died, 

Goss,  i.  65 

I  gave  my  harji.  Bishop,  iii.  23 

II  Bitllo  delle  Ingrate,   Monte- 
verde,  i.  32 

II  Flauto  Magico  (Zauberfiote), 

Mozart,  i.  48,  iii.  25 
II  Quinto  Fabio,  Cherubini,  i.51 
II  Trovatore,  Verdi,  iii.  25 
Impromptus,  Chopin,  i.  60 
Improperia,  Falestrina,  i.  29 
In  Ecclesiis  Benedicite  Domine, 

Gabrieli,  i.  30 
In    going    to    my    lonely    bed, 

Edwardes,  iii.  22 
Iphigenie  en  Aulide,  Gluck,  i.  46 
Iphigenie  en  Tauride,  Gluck,  i. 
I  Puritani,  Bellini,  i.  63         [46 
Israel  in  Egypt,  Handel,  i.  41, 

iii.  43  [i.  65 

It  came  even  to  pass,   Ouseley, 
I  was  in  the  Spirit,  Blow,  i.  36 
I  will  exalt  Thee,  Tye,  i.  25,  iii, 

20 
I  will  love  Thee,  O  Lord,  Clark, 

i.  37,  iii.  20 

Jephtha,  Carissimi,  i.  33,  iii.  17 
Jephtha,  Handel,  i.  41 
Jephtha's  Daughter,  Meyerbeer, 

i.  57 
Jessonda,  Spohr,  i.  54,  iii.  25 
Jonah,  Carissimi,  i.  33,  iii.  17 
Joseph,  Handel,  i.  41 
Joseph,  Mehul,  i.  44,  51,  iii.  25 
Joshua,  Handel,  i.  41 
Jubilee  Cantata,  Weber,  i.  55 
Judas  MaccabsBus,  Handel,  i.  41 
Judge  me,  O  God,  Mendelssohn, 

iii.  20 
Jupiter   Symphony,   Mozart,   i. 

48,  iii.  32 

King  Arthur,  Purcell,  i.  37,  iii. 
26 


172 


List  of  Musical  Works. 


La  Clemeii7,a  di  Tito,  Mozart,  i. 

48 
La  Dame  Blanche,  Boieldieu,  iii. 

25 
La  Fille  du  Regiment,  Donizetti, 

i.  63 
La  Finta  Giardiniera,  Mozart,  i. 

48 
L' Africaine,  Meyerbeer,  1.  57,  iii. 

25 
La  Gazza  Ladra,  liossini,  i.  63 
La  Grande  Duchesse,  Offenbach, 

i.  66 
La  Juive,  Halevy.  i.  61,  iii.  25 
L'Allegro,  Handel,  i.  41 
Lamentabatur  Jacobus,  Morales, 

i.  30 
L'Anima  e  Corpo,  Cavalier e,  i. 

33,  iii.  17 
La  Pastorale,  Cambert,  i.  44,  iii. 

25 
La  Sonnambula,  Bellini,  iii.  25 
Last  Judgment.  The,  Spohr,  i.  54 
La  Traviata,  Verdi,  i.  67 
La  Vestale,  Spontini,  i.  62,  iii.  25 
Lay  of  the  Bell,  Romberg,  i.  49 
L' Eclair,  Halery,  i.  61 
Le  Delire,  Berton,  i.  44 
Le  Deserteur,  Momigny,  i.  44,  iii. 

25 
Le  Jeune  Henri,  Mehiil,  i.  51 
L'Elisir  d' Amore,  Donizetti,  i.  63 
Le  Nozze  di  Figaro,  Mozart,  i. 

48 
Leonora,  Beethoven,  i.  52 
Le  Pardon  de  Ploermel,  Meyer- 
beer, i.  57 
Le  Pre  aux  Clercs,  Herald,  i. 

61 
Les  Deux  Joumees,  Cherubini,  i. 

61,  iii.  25 
Les  Deux  Savoyards,  D'Alayrac, 

i.  44 
Les  Huguenots,  Meyerbeer,  i.  67, 

iii.  23 
Les  Mousquetaires  de  la  Reine, 

Halevy,  i.  61,  iii.  25 
Les  Troqueurs,  D' Auvergne,   1. 

44,  iii.  25 
L'EtoUe  du  Nord,  Meyerbeer,  i. 

67 
Libertine,  Parcell,  i.  37 


Lieder  ohne  worte,  Mendelssohn, 

i.  58 
Liederspiele,   Hiller,   i.    42,   iii. 

25 
Light  of  the  "World,  Sullivan,  i. 

65,  iii.  17 
Lily  of  Killamey,  Benedict,  i.  65, 

iii.  25 
L'Irato,  Mehul,  i.  51 
Lobgesang    (Hynm    of    Praise), 

Mendelssohn,  i.  58 
Lodoiska,  Cherubini,  i.  51 
Lohengrin,  Wagner,  i.  69,  iii.  25 
London  Symphonies,   Haydn,  i. 

47,  iii.  32 
Lord,   for  Thy  tender  mercies' 

sake,  Hilton,  i.  26 
Lorelei,  Mendelssohn,  i.  58 
Lothario,  Handel,  i.  41 
Lucia  di  Lanimermoor,  Donizetti, 

i.  63,  iii.  25 
Lucrezia  Borgia,  Donizetti,  i.  63, 

iii.  25 
Lurline,   Wallace,  i.  64,  iii.  25 

Macbeth  music.  Lock,  [P]  i.  36 
Malvina,  Costa,  i.  65 
Manfred,  Schumann,  i.  59 
Marfi:herita  d'Anjou,  Meyerbeer, 

i.  57 
Marie^  Herold.  i.  61 
Maritana,  Wallace,  i.  64,  iii.  25 
Marta,  Flotow,  i.  66,  iii.  25 
Masaniello,  Auber,  i.  61,  iii.  25 
Mass  in  B  Minor,  Bach,  i.  40 
May  Queen,  Sterndale  Bennett,  i. 

64 
Mazourkas,  Chopin,  i.  60 
Medea,  Benda,  i.  42 
Medea,  Cherubini,  i.  51,  iii.  25 
Meistersiuger,  Wagner,  i.  69,  iii. 

9 
Messe  du  Sacre  Coeur,  Gounod, 

i.  66 
Messe  Solennelle,  Gounod,  i.  66 
Messe  Solennelle,  Rossini,  i.  63 
Messiah,  The,  Handel,  i.  41 
Methinks  I  hear  the  full  Celestial 

Choir,  Crotch,  i.  64 
Midsummer      Night's     Dream, 

Mendelssohn,  i.  68 
Mignou,  Thotnas,  i.  66,  iii.  26 


List  of  Musical  Works. 


173 


Miller  and  his  Men,  Bishop,  iii. 

25 
Minstrel's  Curse,  Schumann,  i.  59 
Miriam's  Battle  Song,  Schubert, 

1.56 
Miserere,  Allegri,  i.  34 
Missa  Papaj  Marcelli,  Palestrina, 

i.  29 
Missa  Solemnis,  Beethoven,  i.  52 
Mitridate,  Mozart,  i.  48 
Montano  et  Stephanie,  Berton,  i. 

44 
Mose  in  Egitto,  Rossini,  i.  63 
Mount  of   Olives,  Beethoven,  1. 

52,  iii.  17 
Mountain  Sylph,  Burnett,  i.  65 
Muzio  Scfflvola,  Handel,  i.  41 
My  bonny  lass,  Morley,  iii.  22 

Naaman,  Costa,  i.  65,  iii.  17 
Nero,  Handel,  i.  41 
Nibelungen,  Wagner,  i.  69,  iii.  25 
Nina,  I)' Alai/rac,  i.  44 
Nocturnes,  Chopin,  i.  60 
Non  Nobis  Douiine,  Bi/rde,  i.  26 
Norma,  Bellini,  i.  63,  iii.  25 

Oberon,  Weber,  i.  55  [68 

Ocean  Symphony,  Rubinstein,  i. 

Ode  on  St.  Cecilia's  Day,  The, 
Handel,  i.  41 

ffidipus.  Piircell,  i.  37 

O  g-ive  thanks,  Furcell,  iii.  20 

Oh  that  the  learned  poets.  Gib- 
bons, iii.  22 

O  Lord,  our  Governor,  Kent,  i. 
38 

O  Lord,  rebuke  me  not,  Croft,  i. 
38 

O  Lord,  Thou  hast  searched  me 
out,  Croft,  i.  38 

Olympiade,  Leo,  iii.  25 

Olympic,  Spontini,  i.  62 

Opera,  Neefe,  i.  49 

Opera,  Schulz,  i.  49 

Operas,  Andre,  i.  49 

Operas,  Hununel,  i.  53 

Operas,  Iteichardt,  i.  49 

Operas,  &c.,  JJittersdorf,  i.  49 

Operas,  Masses,  &c.,  Kreutzer,  i. 
53  [20 

O  Praise  the  Lord,  Aldrich,  iii. 


Oratorios,  Masses,  Operas,  Salt- 
er i,  i.  50 
Oratorios,    Masses,    &c.,    If^au- 

mann,  i.  49 
Orchestral  Music,  Boeckerini,  i. 

50 
Orfeo,  Gluck,  i.  46,  iii.  25 
Orfeo,  Monteverde,  i.  32,  iii.  25 
Orione,  J.  C.    Bach,  iii.  44 
Orlando,  Handel,  i.  41 
Orphee   aux  Enfers,  Offenbach, 

iii.  25 
O  Saviour  of  the  World,  Goss,  i.  65 
Ossian's  Hymn  to  the  Sun,  Goss, 

i.  65,  iii.  23 
O  taste  and  see,  Goss,  i.  65 
Otello,  Rossini,  i.  63 
O  that  I  knew,  Sterndale  Bennett, 

iii.  20 
Otho,  Handel,  i.  41 
O  where  shall  Wisdom,  Bot/ce,  i. 

38 

Palestine,  Crotch,  i.  64,  iii.  17 
Paradise  and  the  Feri,  Schumann, 

i.  59 
Paradise  and  the  Peri,  Sterndale 

Bennett,  i.  64 
Paraphrases  on  the  50  Psalms, 

Mar  cello,  i.  43 
Parthenope,  Handel,  1.  41 
Part-sonfs   and  vocal   composi- 
tions, Zelter,  i.  49 
Passion,  Bach,  i.  40 
Passion,  S.  Matthew  and  S.John, 

Bach,  iii.  17 
Passion,  The,  Handel,  i.  41 
Passion,  The,  Schiitz,  i.  35,  iii.  17 
Passion,  The,  Sebastiani,  i.  39 
Pastorale,  Beethoven,  i.  52,  iii.  32 
Pastor  Fido,  Handel,  i.  41 
Pauline,  Cowen,  i.  65 
Pianoforte  Studies,  &c.,  Steibelt, 

i.  49 
Piano  Studies,  Kalkbrenner,  i.  57 
Pilgrimage   of  the  Rose,  SchU' 

niann,  i.  59 
Polonaises,  Chopin,  i.  60 
Ponce  de  Leon,  Berton,  i.  44,  iii. 
Porus,  Handel,  i.  41  [26 

Praise  the  Lord,  Child,  iii.  20 
Praise  the  Lord,  Goss,  1.  65 


174 


List  of  Musical  Works. 


Preciosa,  Weber,  i.  55,  iii.  25 
Prepare  ye  the  way,  TFise,  iii.  20 
Prodigal  Son,  Sullivan,  i.  65,  iii. 

17 
Prophete,  Le,  Meyerbeer,  i.  57 
Psyche,  Lock,  i.  36,  iii.  25 
Ptolemy,  Handel,  i.  41 
Put  me  not  to  rebuke.  Croft,  i.  38 

Quando  ritrovo,  Festd,  iii.  22 

Radamistus,  Handel,  i.  41 

Red  Cross  Knight,  CaUcott, iii.  23 

Refonuation     Sj'ni  phony,    The, 

Mendelssohn,  i.  58,  iii.  32 
Requiem,  Brahms,  i.  69 
Requiem,  Hasse,  i.  42 
Requiem,  Martini,  i.  49 
Requiem,  Mozart,  i.  48,  iii.  44 
Requiem,  Verdi,  i.  67 
Resurrection,  The,  Handel,  i.  41 
Resurrection,    The,   Macfarren, 

i.  65 
Resurrection,  The,  Schiitz,  i.  35, 

iii.  17 
Return  of  Tobias,  Haydn,  i.  47 
Richard  Coeur-de-Lion,  Gretry, 

i.  44 
Rienzi,  Wagner,  i.  69 
Rigoletto,  V^rdi,  i.  67,  iii.  25 
Rinaldo,  Handel,  i.  41 
Robert  le  Diable,  Meyerbeer,  i.  57 
Robin  and  Marion,  Be  la  Hale, 

iii.  10 
Rodelinda,  Handel,  1.  41 
Roderigo,  Handel,  i.  41 
Roland,  Piccini,  iii.  25 
Romeo    et    Juliet,    Gounod,   iii. 

25 
Romeo  et  Juliette,  Berlioz,  i.  61, 

iii.  32 
Romilda,  Meyerbeer,  i.  57 
Rosamund,  Clayton,  iii.  25 
Rosamunds,  Schubert,  i.  56,  iii. 

25 
Rose  et  Colas,  Monsigny,  i.  44, 

iii.  25 
Rose  Maiden,  Cowen,  i.  65 
Ruth,  Wesley,  i.  64 

Sacred     Compositions,    Michael 
Haydn,  i.  49 


Samson,  Handel,  i.  41 

Saul,  Handel,  i.  41,  iii.  43 

Scipio,  Handel,  i.  41 

Scotch  Symphony,  Mendelssohn^ 

iii.  32 
Seasons,  The,  Haydn,  i.  47 
Semiramide,  Hossini,  i.  63,  iii.  25 
Semiramide  riconosciuta,  Meyer- 
beer, i.  57 
Semiramis,  Handel,  i.  41 
Semiramis,  Catel,  i.  44,  iii.  25 
Services  in  F  and  A,  Hopkins,  i. 

65 
Seven  Last  Words,  The,  Haydn, 

i.  47 
Seven  Last  Words,  Schiitz,  i.  35 
Seven  Penitential  Psalms,  Las- 

siM,  i.  23 
Siegfried,  Wagner,  i.  69 
Sigh  no  more,  ladies,  Stevens,  iii. 

23 
Solomon,  Boyce,  i.  38 
Solomon,  Handel,  i.  41 
Sonata  in  F  sharp  minor,  Schu- 
mann, i.  59 
Sonatas  (32),  Concertos,  &c.,  Bee- 

thoven,  i.  52 
Sonatas,  &c.,  Pleyel,  L  49 
Sonatinas,  Clemcnti,  i.  50 
Song  of  Destiny,  Brahms,  L  69 
Sonnambula,  Bellini,  i.  63 
Sosarme,  Handel,  i.  41 
Stabat  Mater,  Mozart,  i.  48 
Stabat  Mater,  Palestrina,  i.  29 
Stabat  Mater,  Fergolesi,  i.  43 
Stabat  Mater,  Rossini,  i.  63 
Stand  up   and  bless   the   Lord, 

Goss,  i.  65 
St.  Cecilia's  Day,  Handel,  iii.  39 
St.  John  the  Baptist,  Macfarren, 

i.  65,  iii.  17 
St.  John  the  Baptist,  Stradella, 

i.  43,  iii.  17 
St.  Paul,  Mendelssohn,  i.  58 
St.  Peter,  Benedict,  i.  65,  iii.  17 
St.   Polycarp,  Ouseley,  i.  65,  iii. 

17 
Stratonice,  Mehul,  i.  51 
Studies,  Chopin,  i.  60 
Suites  Anglaises,  Bach,  i.  40 
Suites  des  Pieces,  Bach,  i.  40 
Sumer  is  a  cumen  in,  i.  20 


Lvit  of  Musical  Works. 


175 


Surrexit  Christus,  Oahrieli,  i.  30 
Susanna,  Kaiidel,  i.  41 
Sycamore  Shade,  The,  Goss,  i.  65 
Syniphonie  en  Ko,  Gossec,  iii.  32 
Symphonies,  Beethoven,  i.  52 
Symphony,  Rubciisiein,  i.  68 
Symphony  in  C,  Schubert,  iii.  32 
Symphony  in  C  minor,  Mendels- 
sohn, i.  58 
Symphony  in  E  flat,  Schumann, 

i.  59 
Symphony   in    G  minor,  Stern- 
date  Bennett,  i.  64 

Talisman,  Balfe,  i.  64,  iii.  25 
Tancred  and   Clorinde,   Monte- 

verde,  i.  32 
Tancredi,  Rossini,  i.  63 
Tannhiiusev,  Wagner,  i.  69,  iii.  25 
Tasso,  Liszt,  iii.  32 
Te  Deum,  Festa,  i.  28 
Te  Dcuin,  llasse,  i.  42 
Te  Deum  and  Jubilate  in  D,  Pur- 
cell,  i.  37 
Tempest,  The,  Purcell,  i.  37 
Tetralogy,  Wagner,  i.  G9,  iii.  25 
The  Lord  is  King-,  Boyce,  i.  38 
Theodora,  Handel,  i.  41 
There  is  beauty  on  the  Mountain, 

Goss,  i.  65 
These  are  they.  Dykes,  iii.  20 
The  two  Caliphs,  Meyerbeer,  i. 

57 
Thou,    O   God,   art  praised,    S. 

Wesley,  iii.  20 
Timon  of  Athens,  Purcell,  i.  37 
Toy  Symphonies,  .ffayrfw,  iii.  32. 
Tragedies  lyriques,  Lully,  i.  44, 

iii.  25 
Treatise    on  Music,    Isidore  of 

Seville,  i.  14 
Tristan  and  Isolde,  Wagner,  i.  69 
Triumphs  of  Oriana,  Morley,  i.  27 


Trovatore,  II,  Verdi,  i.  67 
Tu  es  Petrus,  Scarlatti,  i.  43 
Turn  Amaryllis,  T.  Brewer,  iii. 
23 

Un  Ballo  in  Maschera,  Verdi,  i. 

67 
Utrecht  Te  Deum  and  Jubilate, 

Handel,  i.  41 

Violin  Concertos,    Viotti,  i.  60 , 
Corelli,  &c.,  iii.  31 

Walpurgis  Night,  Mendelssohn, 

i.  58,  iii.  47 
Water  Music,  Handel,  i.  41 
Wedding  of  Camacho,  The,  Men- 

delssohn,  i.  58,  iii.  25 
Which  is  the  properest  day,  T. 

Arne,  iii.  23 
While  the  bright  sun,  Byrde,  iii. 

22 
Who  is  this  that  comoth,  Arnold, 

iii.  20 
Wilderness,  The,  S.  S.  Wesley, 

i.  64,  iii.  20 
Wohltemperirte  Klavier,  Bach,  i. 

40 
Woman  of   Samaria,    Sterndale 

Bennott,  i.  64,  iii.  17 
Wood  Nymph,   The,   Sterndale 

Bennett,  i.  64 

Xerxes,  Handel,  i.  41 

Ye  restless  thoughts,  Benet,  iii. 
22 

Zampa,  Herold,  i.  61,  iii.  25 
Zauberflote,  Mozart,  i.  48,  iii.  25 
Zemire  et  Azor,  Gretry,  i.  44,  iii. 
25 
i  Zemire  und  Azor,  Spohr,  i.  64 


176 


GENERAL   INDEX 


•»*  In  every  case  the  reference  is  to  section  and  paragraph. 


Academies  of  Music,  iii.  49 
Accompaniment,  i.  6,  37,  48,  iii. 

16,  17,  22,  25,  28,  30,  45 
Adagio,  i.  23,  44 
Adieu,  my  loves,  i.  24 
Afranio,  iii.  43 
Albanus,  iii.  41 
Alberti,  iii.  27,  29 
Albinoni,  iii.  29,  41 
Alboni,  iii.  48 

Albrechtsbcrger,  i.  49,  iii.  46,  50 
Alcuin,  i.  13 
Aldhelm,  iii.  46 
Aldrich,  Dr.,  i.  37,  iii.  20 
Alfred,  King,  iii.  9 
Allegri,  i.  34,  iii.  18 
Allegro,  i.  23 
AUeniande,  iii.  27 
Amati,  iii.  41 
Anibros,  iii.  50 
Ambrose,  i.  9,  iii.  6,  48 
Arabrosian  chants,  iii.  2 
Andre,  i.  49 
Anerio,  i.  29 
Anthem,  i.  25,  iii.  20 
Antiphonal  singing,  i.  8,  9,  11, 

iii.  3. 
Antiphonar,  i.  11 
Arcadeldt,  i.  21,  31 
Arch-lute,  iii.  17,  39 
Aria,  i.  33,  43,  44,  iii.  17,  25,  26 
Arioso,  i.  33,  iii.  17,  26 
Aristoxenus,  iii.  50 
Ame,  i.  38,  iii.  23,  25,  26 


Arnold,  i.  38,  iii.  20,  25,  26 
Arpa  doppia,  iii.  35 
Attilii),  i.  41 
Attwood,  i.  64,  iii.  20 
Auber,  i.  61,  iii.  25 
Authentic  modes,  i.  9,  10 
Avery,  iii.  46 

Bach,  C.  P.  E.,  i.  40,  iii.  29,  31,  37 
Bach,  F.,  i.  40,  iii.  29,31 
Bach,  J.  C,  i.  40,  iii.  31,  44 
Bach,  J.  Sebastian,  i.  39,  40,  iii. 
17, 18,  27,  29,  31,  38,  40, 46,  60 
Bagpipes,  iii.  27 
Baiilot,  iii.  31,  41 
Baini,  iii.  50 
Balfe,  i.  64,  iii.  25 
Ballads,  iii.  9 
Ballet,  iii.  16,  22 
Baltazarini,  iii.  41 
Baltzar,  iii.  41 
Banister,  iii.  41 
Bar,  i.  16 

Barbier,  Mrs.,  iii.  48 
Bamby,  J.,  i.  6.i,  iii.  20 
Bamett,  J.  &  J.  F..  i.  65 
Barjton,  i.  47,  iiii  40 
Basaun,  iii.  43 
Bassani,  iii.  41 
Basset-horn,  i.  48,  iii.  44 
Bass-lute,  iii.  39 
Basso  continuo,  i.  34,  iii.  22, 28, 29 
Ba.ssoons,  iii.  32,  43 
Battishill,  i.  38,  iii.  20 


Index. 


177 


Beethoven,  i.  52,  iii.  17,  18,  25, 

29—32,  43.  45,  47 
Belgian  School,  i.  19 
Bellini,  i.  63,  iii.  25 
Benda,  i.  42,  iii.  25 
Benedict,  J.,  i.  65,  iii.  17,  25 
Benet,  i.  27,  iii.  22 
Benevoli,  i.  34 
Bennett,  Stemdale,  i.  64,  iii.  17, 

20,  29,  30,  32,  49 
Beriot,  de,  iii.  31,  41 
Berlioz,  i.  61,  iii.  18,  25,  32,47, 60 
Bemacchi,  iii.  4S 
Bernhardt,  i.  24,  iii.  46 
Berton,  i.  44,  iii.  25 
Biber,  iii.  29 
Bijuga,  Kithara,  iii.  39 
Billingpton,  Mrs.,  iii.  48 
Binary  form,  iii.  29,  32 
Bird  (or  Byrde),  1.  26,  iii.  18, 20, 

22,  36 
Birmingham  Musical  Festival,  i. 
Bishop,  i.  64,  iii.  23,  25  [58 

Bitti,  iii.  41 
Blasema,  iii.  51 
Blow,  i.  36,  37,  iii.  20,  46 
Boccherini,  i.  50,  iii.  30—32 
Boethius,  iii.  60 
Boieldieu,  i.  44,  iii.  24 
Bombard,  iii.  43 
Bombardon,  iii.  45 
Boschi,  iii.  48 
Bouflfe,  Opera,  i.  44 
BoufiFons,  Les,  i.  44,  iii.  26 
Bourree,  iii.  27 
Bow,  iii.  35,  40 
Boyce,  i.  38,  iii.  20,  25,  29,  46 
Braham,  iii.  48 
Brahms,  i.  69,  iii.  32 
Brevie,  i.  16,  iii.  7 
Brewer,  iii.  23 
Bridge,  iii.  20 
Broadwood,  iii.  38 
Buddha,  monks  of,  iii.  40 
Bull,  Dr.  John,  i.  26,  iii.  46 
Bulow,  Dr.  Von,  iii.  38 
Buononcini,  i.  41,  iii.  29 
Bumey,  Dr.,  iii.  50 
Buxtehude,  iii.  46 
Bylield,  iii.  46 

Byrde  (or  Bird),  i.  26.  iii.  18,  20, 
22,36 


Ca^ccini,  i.  32,  iii.  17,  24,  25 
CaflFarelli,  iii.  48 
Caldara,  i.  43,  iii.  18,  46 
Calkin,  J.  B.,  iii.  20 
Callcott,  iii.  22,  50 

Cambert,  i.  44,  iii.  25 

Canipagnoli,  iii.  41 

Canon,  i.  20,  24,  26,  51,  iii.  11,  18, 

Cantatas,  i.  52,  65,  68  [21 

Cantus    firmus,    i.    11,    21,   26, 
(transposition  of),  29,  iii.  12. 

Canzone,  iii.  29 

Canzonet,  i.  38 

Carafa,  i.  63 

Carillon,  iii.  27  47 

Carissimi,  i.  33,  iii.  17,  26 

Cassiodorus,  iii.  50 

Catalani,  iii.  48 

Catalano,  i.  34 

Catch,  iii.  23 

Catel,  i.  44,  iii.  35,  60 

Cavaliere,  i.  33,  iii.  16,  17 

Cembalo,  iii.  37 

Cesti,  iii.  29 

Chaconne,  iii.  27 

Chalameau,  iii.  44 

Chamber  Music,  iii.  30 

Chappell,  W.,  iii.  50 

Charlemagne,  i.  13,  iii.  48 

Cherubini,  i.  51,  iii.  18, 25,  26,  30, 

50 
Chest  of  Viols,  iii.  28,  30,  40 
Child,  i.  36,  iii.  20 
Choirs,  i.  9, 11,  22,  30,  iii.  3,  42,  45 
Chopin,  i.  60,  iii.  29 
Chorale,  i.  35,  iii.  21 
Choron,  iii.  50 

Chorus,  i.  6,  iii.  16—18,  20,  22,  25 
Chromatic,  i.  23,  54 
Chronology  of  the  Opera,  iii.  26 
Church  Music,  i.  8—14,  17,  21— 
24.  28—31,  34—43,  49,  64,  iii. 
9,  14,  17-21.42,46 
Cimarosa,  i.  50 
Claret,  iii.  45 
Clarinet,  iii.  31.  32,  44 
Clarino,  iii.  45 
Clarke,  Cowden,  i.  51 
Clark,  Jer.,  i.  37,  iii.  20 
Clarke- Whitfeld,  iii.  20 
Clavecin,  iii.  37 
Clavicembalo,  iii.  37 


12 


178 


Index, 


Clavichord,  i.  40 

Clayton,  iii.  25 

Clefs,  i.  15,  iii.  6 

Clemens  non  Papa,  i.  21,  31,  35, 

iii.  21 
Clementi,  i.  50,  iii.  29,  31,  32 
Collard,  iii.  38 
College  of  Organists,  iii.  49 
Concerto,  i.  34,  41,  47,  50,  54,  iii. 

31,  38 
Concert  Overture,  iii.  32 
Conservatoires,  iii.  49 
Conti,  iii.  39 
Contra  basso,  iii.  40 
Cooper,  George,  iii.  46 
Coperario,  iii.  28 
Coranto,  iii.  27 
Corelli,  iii.  27,  29,  31,  41 
Comet,  i.  30,  iii.  42 
Corno  di  bassetto,  i.  48,  iii.  44 
Como  Inglese,  iii.  43 
Costa,  M.,  i.  65,  iii.  17 
Cotillon,  iii.  27 
Couched  Harp,  iii.  36 
Council  of  Trent,  i.  29,  iii.  18 
Counterpoint,  i.  16,  18—21,  24— 

26,  39,  48,  49.  51,  65,  iii.  7,  8, 

11,  12,  18.  50 
Conperin,  iii.  27,  46 
Courcy,  Chatalain  de,  i.  17 
Co  wen,  F.,  i.  65 
Cramer,  i.  64,  iii.  29,  31 
Credo,  iii.  18 

Cremona  (Cremome),  iii.  46 
Cristofali,  iii.  38 
Croft,  i.  38,  iii.  20 
Crotch,  i.  64,  iii.  17,  20,  60 
Crwth,  iii.  40 
Cuzzoni,  iii.  48 
Czemy,  i.  57,  iii.  29 

D'Alayrac,  i.  44,  iii.  25 
Dance  Tunes,  Ancient,  iii.  27 
Dante,  iii.  39 
D'Auvergne,  i.  44,  iii.  25 
David,  Felicien,  i.  61 
Day,  iii.  50 
Denner,  iii.  44 
Descant,  iii.  13 
Diabelli,  i.  53 
Diaphony,  i.  14,  iii.  46 
Dies  IrsB,  iii.  18 


Dieupart,  iii.  41 
Discantus,  i.  14,  iii,  5 
Dittersdorf,  i.  49,  iii.  31 
Donizetti,  i.  63,  iii.  25 
Dorian  Mode,  iii.  4 
Double  Ba8.s,  iii.  32,  40 
Dowland,  i.  27,  iii.  22,  28 
Drone  Bass,  iii.  13 
Drums,  iii.  32,  47 
Dryden,  i.  37 
Duet,  iii.  20,  25 
Dufay,  i.  20,  25,  iii.  11,  18 
Dulcimer,  iii.  39 
Dumont,  iii.  27 
Duni,  i.  43,  44 
Dunstable,  i.  25 
Durante,  i.  43,  iii.  18,  29 
Dussek,  i.  49,  iii.  29—31 
Dykes,  Dr.,  iii.  20 

Eccard,  i.  35 

Eccles,  i.  36,  iii.  27 

Edwardes,  iii.  22 

Egyptians,  monumental  remains 

of,  i.  3,  iii.  27 
Egyptians,  musical  knowledge  of, 

i.  3 
Eisteddfod,  iii.  9 
Elizabeth,  Queen,  i.  25,  27,  iii. 

36 
Ellis,  A.  J.,  iii.  51 
Elvey,  G.  J.,  iii.  20 
Engel,  iii.  50 
England,  iii.  46 
Erard,  iii.  35,  38, 
Essipoff,  iii.  38 
Esterhazy,  Prince,  i.  47 
Euphonium,  iii.  45 
Evening  Hymn  (Tallis),  i.  26,  iii. 

21 

Faburden,  iii.  13 
Fagotto,  iii.  43 
Faidit,  i.  17 
Fa  las,  iii.  22 
Fantasia,  iii.  28 
Farinelli,  iii.  48 
Farrant,  i.  26 
Felt,  iii.  45 
Feo,  i.  43,  iii.  18 
Ferabosco,  iii.  28 
Fesca,  i.  57,  iii.  29,  30 


Index. 


179 


Festa,  i.  27,  iii.  22 

Feds,  iii.  50 

Field,  i.  64,  iii.  29 

Fingering,  i.  40 

Fliigeolet,  iii.  42 

Flauto  traverse,  iii.  42 

Flotow,  i.  66,  iii.  25 

Flute,  i.  4,  5,  32,  33,  iii.  16,  27, 

31,  32,  42 
Flute-a-bec,  iii.  42 
Folksongs,  i.  17,  iii.  22 
Forkel,  iii.  50 
Form,  iii.  29,  32 
Franc,  Guillauine,  iii.  21 
Franchinu.s,  iii.  50 
Franco  of  Cologne,  i.  16,  iii.  7,  50 
French  Opera,  i.  44,  49,  iii.  24 
Frescobaldi,  i.  34,  iii.  27,  29,  46 
Frobergor,  iii.  46 
Fugue,  i.  20,  34,  44,  48,  61,  iii. 

18,  28,  50 
Full  Anthems,  iii.  20 
Fux,  i.  47,  iii.  18,  50 

Gabrieli,  A.,  i.  30 

Gabrieli,  Francesca,  iii.  48 

Gabrieli,  G.,  i.  30,  iii.  45 

Gade,  N.  W.,  i.  68,  iii.  32 

Gaetano,  iiL  39 

Gatfurius,  iii.  50 

Gallia,  Maria,  iii.  48 

Galliard,  iii.  27 

Gallus,  i.  35 

Galop,  i.  60 

Galuppi,  i.  43 

Garrett,  iii.  20 

Gauthier,  iii.  39 

Gavotte,  iii.  27 

Geminiani,  iii.  41 

German  opera,  iii.  24,  26 

Giardini,  iii.  41 

Gibbons,  Orlando,  i.  36,  iii.  20, 

Gigue,  iii.  27  [22,  46 

Glee,  iii.  23 

Glockenspiel,  iii.  47 

Gloria  in  Eitcelsis,  iii.  18 

Gluck,  i.  45,  46,  iii.  25,  26,  43 

Gluckists  and  Piccinists,  i.  46, 

iii.  26 
Goddard,  Arabella,  iii.  38 
Goss,  J.,i.  65,  iii.  20,23,60 
Oossec,  i.  44,  iii.  32 


Goudimel,  i.  21,  29,  36,  iii.  21 
Goudok  (Russian  fiddle),  iii.  40 
Gounod,  Ch.,  i.  66,  iii.  25 
Graun,  i.  42,  iii.  17,  18,  25 
Graziani,  iii.  29 
Greek  scales,  i.  2,  iii.  1 
Green,  iii.  46 
Greene,  i.  38,  iii.  20 
Gregorian  chants  and  melodios, 

i.  13,  24,  29,  iii.  2,  4,  21 
Gregorian  modes,  i.  10,  iii.  2 
Gregory  the  Great,  i.  10 — 14,  iii. 

6,48 
Gresham  College,  i.  26 
Gretry,  i.  44,  iii.  25,  30—32,  60 
Grisi,  iii.  48 
Guarneri,  iii.  41 
Guglielmi,  i.  43 
Guido,  i.  15,  iii.  6—7,  60 
Guilmant,  i.  66 
Guitar,  i.  3,  33,  iii.  16,  39 

Hackbret,  iii.  39 

Halo,  Adam  de  la,  i.  17,  iii.  10 

Halevy,  i.  61,  iii.  25 

Halle,  Charles,  iii.  38 

Hammer-clavier,  iii.  38 

Hampel,  iii.  45 

Handel,  i.  41,  42.  iii.  17,  20,  24— 

27,  29,  31,  35,  39,  42,  43,  46,  47 
Hiindl  (Gallus),  i.  35 
Handlo,  de,  iii.  50 
Harmonics,  iii.  60 
Harmony,  i.  4,  14, 16,  17,  19,  26, 

32,  38,  44,  49,  65,  iii.  4,  30,  48, 
Harp,  i.  3,  4,  iii.  35  [50 

Harp.sichord,  i.  32,  33,  37,  40,  41, 

47,  48,  iii.  16, 17, 22,  27,  29,  31, 

37,  38 
Harpsicon,  iii.  37 
Harris,  iii.  46  [46 

Hasse,  i.  42,  iii.  18,  25,  26,  31,  32, 
Hassler,  Hans  Leo,  i.  35 
Hatton,  -T.  L.,  i.  65 
Hauptmann,  i.  57,  iii-  30 
Hautboy,  iii.  27,  32,  43,  44 
Hawkins,  iii.  50 
Haydn,  i.  47,  49,  53,  iii.  17,  18, 

29—32,  40 
Haydn,  Michael,  i.  49 
Hebrew  airs,  i.  8 
Helmholtz,  iii.  61 


180 


Index. 


Henselt,  iii.  29 

Herold,  i.  61,  iii.  25 

Herve,  i.  66 

Herz,  iii.  38 

Hexachord,  iii.  6 

Hiller,  J.  A.,  i.  42,  iii.  25 

Hilton,  i.  26 

Hiinmel,  i.  42,  iii.  25 

Hochbriicker,  iii.  35 

Hohl  flute,  iii.  46 

Holder,  Dr.  William,  iii.  50 

Hopkins,  E.  J.,  i.  65,  iii.  20 

Horn,  i.  52,  iii.  32,  45 

Hornpipe,  iii.  27 

Horsley,  iii.  22,  23 

Hoyte,  W.  S.,  i.  34 

Hucbald,  i.  14,  iii.  5 

Hullah,  iii.  50 

Hummel,  i.  53,  iii.  18,  29,  30 

Hymn,  i.  23,  ii.  4,  19,  21 

Instrumental  Music,  iii.  27 

Intermezze,  iii.  32 

Irish  Academy  of  Music,  iii.  49 

Irish  Harp,  iii.  35 

Isidore  of  Seville,  i.  14,  iii.  50 

Isouard,  i.  44,  iii.  25 

Italian  opera,  i.  41,  iii.  24,  25 

Jamovick,  iii.  41 

Jenkins,  iii.  28 

Joachim,  i.  69,  iii.  32 

Jomelli,  i.  43 

Jordan,  iii.  46 

Jorge,  Don,  iii.  22 

Jubilate,  i.  37 

Kalkbrenner,  i.  57,  iii.  29 
Kapsberger,  iii.  39 
Keiser,  i.  39,  iii.  17,  25 
Kelly,  iii.  48 
Kent,  i.  38,  iii.  20 
Kerl,  J.  C.  Von,  iii.  46 
Kettle-drum,  iii.  47 
Kirbye,  i.  27 
Kithara,  i.  5,  iii.  33,  39 
Klein,  i.  57 
Klopstock,  i.  42 
Klotz,  iii.  41 
Knecht,  i.  49 
Kolbel,  iii.  45 
Kreutzer,  i.  63,  iii.  41 
Krumhom,  iii.  46 
Kuhlau,  iii.  31 


Kiihnau.  iii.  27,  29 
Kyrie  Eleison,  iii.  18 

Lablache,  iii.  48 

Lachrymo.sa,  iii.  18 

Lafont,  iii.  41 

Lambert,  iii.  39 

Langle,  i.  51,  iii.  50 

Lasos,  i.  5 

Lassus,  Orlandus,  i.  23,  iii.  18 

Lawes,  i.  36 

Leclair,  iii.  41 

Lecocq,  i.  66 

Leipsic  Choral  Society,  i.  54 

Lejeune,  Claude,  i.  31 

Lemaire,  i.  15 

Leo,  i.  43,  iii.  17,  18,  24 

L'Epine,  Margarita  de,  iii.  48 

Lesueur,  i.  51 

Liedertafel,  i.  49 

Lind,  Jenny,  iii.  48 

Lindpaintner,  i.  57 

Linlev,  iii.  22 

Liszt,"  Franz,  i.  69,  iii.  32,  38,  60 

Litany,  i.  23 

Literati,  Society  of,  i.  32,  iii.  25 

Liturgy,  English,  i.  26 

Locateili,  iii.  41 

Lock,  i.  36,  iii.  24 

Lolli,  iii.  31,  41 

Longa,  i.  16,  iii.  7 

Lossius,  i.  35 

Lott,  Edwin  M.,  i.  47 

Lotti,  i.  43,  iii.  25 

Lotz,  iii.  44 

LuUy,  i.  44,  iu.  25,  29,  41 

Lunati,  iii.  41 

Luscinius,  iii.  33,  36,  42,  43 

Lute,  i.  3,  4,  32,  iii.  22,  28,  39 

Lutenists,  iii.  39 

Luther,  Martin,  i.  21,  35 

Lydian  mode,  iii.  4 

Lyre,  i.  4,  33,  iii.  2,  16,  34,  35 

Macbeth    Music,   i.   36,   iii.   26 

(note)  . 

Mace,  Thomas,  iii.  39  [50 

Macfarren,  G.  A.,i.  65,  iii.  17,  20, 
Madrigals,  i.  22,  24,  27,  30,  34, 

iii.  22,  28 
Magnificat,  i.  23,  iii.  19 
Magrepha,  iii.  46 


Index. 


181 


Malibran,  iii.  48 

Mandolin,  iii.  39 

Mara,  iii.  48 

Marbecke  (or  Merbecke),  i.  26, 

Marcello,  i.  43,  iii.  18        [iii.  18 

March,  i.  60 

Marchettus,  i.  18,  iii.  8 

Marenzio,  Luca,  i.  30,  iii.  22 

Mario,  iii.  48 

Marius,  iii.  38 

Marpurg,  iii.  46,  50 

Martini,  i.  49,  iii.  18,  50 

Marx,  A.  B.,  i.  57,  iii.  50 

Masques,  i.  36 

Mass,  i.  20,  21,  24,  29,  40,  43,  47 

—49,  56,  iii.  16,  18 
Masse,  i.  66 
Massenet,  i.  66 
Mattheson,  iii.  29,  46,  50 
Maxima,  i.  16,  iii.  7 
Mayer,  S.,  i.  50 
Mayseder,  i.  57,  iii.  41 
Mazarin,  Cardinal,  i.  44,  iii.  24 
Mazourka,  i.  60 
Measure,  Musical,  i.  16,  iii.  7 
Mehul,  i.  44,  51,  iii.  25 
Meistersanger,  iii.  9 
Mendel.ssohn,  F.,  i.  58,  59,  iii.  17, 

20,  25,  29—32,  46 
Merbecke  (or  Marbecke),  i.  26, 

iii.  18 
Mercadante,  i.  63 
Mersennus,  iii.  39 
Metz,  Music  School  at,  i.  13 
Meurs,  Jean  de,  i.  18,  iii.  7 
Meyerbeer,  i.57,  iii.  25,  26,  40,43 
Minnesinger,  iii.  9,  48 
Minstrels,  i.  5 
Minuet,  i.  44,  iii.  27,  29 
Miracle-plays,  i.  33,  iii.  16 
Molique,  iii.  30 
Monsigny,  i.  44,  iii.  25 
Monteclair,  iii.  40 
Monteverde,  i.  32,  iii.  17,  24,  25, 

35,  41,  45 
Morales,  Christoforo,  i.  30 
Morley,  Thomas,  i.  27,  iii.  13,  22 
Moscheles,  i.  57,  iii.  29,  32 
Motett,  i.  21—24  (in  40  parts), 

26,  29,  30  (24  parts),  35,49,  64 
Mouton,  i.  21,  22 
Mozart,  W.  A.,  i.  48.  49,  02,  53 


iii.  18,  25,  26,  29—32,  39,  44, 

47 
Mozart,  Leopold,  i.  48 
MuUer,  W.,  i.  49 
Miiller,  iii.  45 
Musette,  iii.  27 
Mu.sica  di  Camera,  iii.  30 
Musica  parlaute,  i.  32,  iii.  17,  25, 

26 

Nanini,  i.  29 

Nardini,  iii.  31 

Nares,  i.  38,  iii.  20 

National    Training    School    for 

Music,  iii.  49 
Naumann,  i.  42,  49,  iii.  18, 31,  32 
Neefe,  i.  49 

Neri,  St.  Philip  de,  i.  33 
Nero,  i.  7 

Neukumm,  i.  53,  iii.  30,  32 
Nillson,  Chrlstini,  iii.  48 
Nocturne,  i.  60,  64 
Norwich  Musical  Festival,  i.  64 
Noses  Red,  The,  i.  24 
Notation,  i.  11,  15 
Novello,  Clara,  iii.  48 
Nuova  Musica,  i.  29 

Oboe,  iii.  27,  32,  43,  44 
Oekonheim,  i.  20,  iii.  18 
Odington,   iii.  50 
Offenbach,  i.  66,  iii.  25 
Old  Hundredth,  iii.  21 
Olynipos,  i.  5. 
Onslow,  iii.  29,  30,  32 
Opera,  Origin  and  progress  of,  i. 

32,  37—39,  41—59,  iii.  17,  24 
—26.  48 

Ophicleide,  iii.  45 

Oratorio,  Rise  and  progress  of,  i. 

33,  38—43,  47,  49—59,  61—67, 
69,  iii.  16,  25 

Orchestra,  i.  30,  32,  43,  47,  62, 

iii.  16,  18,  26,  32,  45 
Organ,  i.  14,  iii.  27,  29,  31,  46 
Organ  Concertos,  i.  41 
Organists,  i.  34,  36—38,  40,  41, 

iii.  46 
Organ-pedals,  i.  24,  iii.  46 
Organum,  i.  14,  iii.  5,  46 
Orpharion,  iii.  39 
Ouseley,  i.  65,  iii.  17,  20,  60 


182 


Index. 


Overture,  i.  44,  48,  61,  iii.  16,  25 

Paer,  F.,  i.  60 
Paesiello,  iii.  18 
Pa^anini,  iii.  31, 41 
Palestrina,  i.  29,  iii.  15,  18,  22 
Paris  Conservatoire,  i.  61,  66 

Passecaille,  iii.  27 

Passepied,  iii.  27 

Passion  Music  (Schutz),  i.  35, 
(Bach),  40,  (Handel),  41, 
(Graun),  42,  (Haydn),  47 

Pasta,  iii.  48 

Patey,  Mdnie.,  iii.  48 

Patti  Adelina,  iii.  48 

Pauer,  E..  i.  69,  iii.  38 

Pavaine,  iii.  27 

Pearsall,  iii.  22 

Perpolesi,  i.  43,  iii.  18,  25,  41 

Peri,  i.  32,  iii.  24,  25 

Petrucci,  i.  24 

Philidor,  i.  44 

Phrygian  mode,  iii.  4 

Pianoforte,  i.  49,  52,  53,  66,  69, 
60,  69,  iii.  22,  29,  31,  38 

Piccini.  i.  43,  46,  iii.  25 

Pilgrim's  Staff,  iii.  42 

Pipe,  Double,  i.  4 

Plagal  modes,  i.  10 

Plectrum,  iii.  34 

Pleyel,  i.  49,  iii.  29—32 

Pliny,  i.  8 

Polacca,  iii.  27 

Polonaise,  i.  60 

Polyphonic  Music,  i.  4 

Porpora,  i.  47 

Potter,  Cipriani,  i.  64 

PrsBtoriu.s,  i.  35 

Preindl,  i.  49 

Pres,  Jusquin  des  i.  21,  iii.  11, 
14,18 

Prout,  Ebenezer,  iii.  32 

Psalms,  i.  23,  43,  ii..  16,  19 

Ptolemy,  iii.  50 

Purcell,  Henry,  i.  36,  37.  iii.  20, 
25—27,  29,  46 

Pythagoras,  i.  5,  iii.  50 

Quartetts,  i.  47,  iii.  18,  25 
Quintetts,  i.  62,  iii.  25 
Quoniam  Tu  Solus,  iii.  18 

RafiE;  1.  69,  iii.  32 


Raff(2).  iii.  48 

Rameau,  i.  44,  iii.  25,  60 

Ravenstrom,  iii.  40 

Rebab,  iii.  40 

Rebec,  iii.  40 

Recitative,  i.  32,  33,  39,  42,  m. 

Recordare,  iii.  18  [17,  25 

Recorder,  iii.  42 

Reeves,  Sims,  iii.  48 

Regals,  iii.  46 

Reicha,  i.  53,  iii.  30,  32,  50 

Reichardt,  i.  49 

Reissiger,  i.  57,  iii-  30 

Rests,  i.  16 

Ries,  F.,  i.  57,  iji.  29,  30 

Rigadoon,  iii.  27 

Rimbault,  iii.  60 

Rink,  iii.  46 

Rinuccini,  i.  32 

Ritomello,  iii.  16,  17 

Ritter,  iii.  50 

Robinson,  Anastasia,  iii.  48 

Rode,  i.  51,  iii.  41 

Romans,  Musical  pursuits  of  the, 

i.  7 
Romberg,  A.,  i.  49,  iii.  32 
Romberg,  B.,  i.  49,  iii.  30,  31 
Rondo  form,  iii.  29 
Rorc,  Cyprian  de,  i.  22,  iii-.  22 
Rossini,  i.  63,  iii.  18,  25 
Round,  iii.  23 
Rousseau,  i.  44,  iii.  50 
Royal  Academy  of  Music,  i.  41, 

65,  iii.  49 
Rubini,  iii.  48 
Rubinstein,  1.  68,  iii.  32,  38 

Sacchini,  i.  43,  iii.  25 

Sackbut,  iii.  43,  45 

Saint-Saens,  i.  66 

Salieri,  i.  50 

Salo,  iii.  40 

Sammartini,  iii.  SO — 32 

San  Nicola,  iii.  48 

Santini,  iii.  48 

Santley,  iii.  48 

Sarabande,  iii.  27 

Saxe,  iii.  45 

Scales  or  modes,  i.  2,  4,  8 

Scarlatti,  A.,  i.  43,  iii.  18,  26,  2S 

Scarlatti,  D.,  i.  43,  iii.  27,  29 

Schalmey,  iii.  44 


Index. 


183 


Scherzo,  iii.  29 

Schmidt,  iii.  46 

Schneider,  i.  57,  iii.  30 

Schobert,  i.  49,  iii.  29 

Schools  of  Music,  i.  8,  12,  13,  29 

Schroder,  iii.  46  [iii.  49 

Schroter,  iii.  38 

Schubert,  i.  06,  iii.  18, 25,  29,  30, 

32 
SchuIoflF,  iii.  38 
Schulz,  i.  49 

Schumann,  Clara,  i.  59,  iii.  38 
Schumann,  R.,  i.  59,  iii.  25,  29, 

30,  32,  50 
Schutz,  i.  35,  39,  iii.  17,  24 
Scientists,  iii.  51 
Sebastiani,  i.  39 
Semibrevis,  i.  16 
Senesino,  iii.  48 
Senfl,  i.  35 
Septett,  i.  52,  53 
Serpent,  iii.  44 
Seven-stringed  Kithara,  i.  5 
Seventh,  Chord  of  the,  i.  32 
Shield,  iii.  30 
Si,  i.  15 

Silas,  Edward,  iii.  32 
Silbermann,  iii.  38 
Sing  Academie,  Berlin,  i.  58 
Singers,  great,  iii.  48 
Singing  Schools,  i,  8,  12,  13,  29, 

iii.  48 
Smart,  H.,  iii.  20 
Smith,  Stafford,  iii.  23 
Snetzler,  iii.  46 
Sonata,  i.  37,  47,  48,  52,  iii.  29, 

32,38 
Sonata  di  Camera,  iii.  29 
Sonata  di  Chie.sa,  iii.  29 
Sonatinas,  i.  50 
Songs,  i.  22,  iii.  27,  30 
Son  tag,  iii.  48 
Spinet,  i.  32,  iii.  17,  36 
SpoflForth,  iii.  23 
Spohr,  i.  54,  iii.  17,  25,  26,  30, 31, 

41 
Spontini,  i.  62,  iii.  25 
Stadler,  i.  49,  iii.  46 
Stainer,  iii.  20,  50 
Staudigl,  iii.  48 
Stave,  i.  11,  15,  iii.  6 
Steggall,  C,  i.  65,  iii.  20 


Steibelt,  i.  49,  iii.  29,  31 
Stein,  iii.  38 

Steiner  (or  Stainer),  iii.  41 
Stevens,  R.  J.  S.,  iii.  23 
Stewart,  R.  P.,  i.  65,  iii.  20 
Storace,  iii.  25,  26 
Stradella,  A.,  i.  43,  iii.  17,  46 
Stradiuari,  iii.  41 
S*iites-des-pieces,  i.   40,  41,  iii. 

27 29 

Sullivan,  A.  S.,i.  65,  iii.  17,  20 

32 
Siissmaier,  i.  48 
Swell,  iii.  37,  46 
Sylvester,  Pope,  i.  8 
Symphony,  i.  14,  47—49,  52,  iii, 

16,  25,  32 

Tablature,  iii.  39 

Tallis,  Thomas,  i.  26,  iii.  20 

Tambour,  iii.  47 

Tamburini,  iii.  48 

Tarantelle,  iii.  27 

Tartini,  iii.  31,  41 

Tavern er,  i.  25 

Te    Deum    (Ambrosian),    i.    9; 

Festa,  28  ;  Purcell,  37,  iii.  19 
Terpander,  i.  5,  iii.  34 
Terradeglias,  i.  43 
Tesi,  iii.  48 

Tctrachords,  i.  2,  10,  iii.  6 
Tetralogy,  i.  69,  iii.  25,  26 
Thalberg,  iii.  38 
Theorbo,  iii.  17,  39 
Theory  of  Music,  i.  30,  44,  iii.  9 
Thibaut  of  Navarre,  i.  17 
Thomas,  Ambroise,  i.  66,  iii.  25 
Thome,  E.  H.,  iii.  20 
Thiimerhom,  iii.  45 
Tinctor,  iii.  50 
Titiens,  Mdlle.,  iii.  48 
Tofts,  Mrs.,  iii.  48 
Tonic  Sol-fa  movement,  iii.  49 
Tours,  i.  65,  iii.  20 
Travers,  i.  38,  iii.  20 
Trinity  College,  London,  iii.  49 
Trios,  i.  47,  iii.  20,  25 
Triumphs  of  Oriana,  i.  27 
Tromba,  iii.  45 

Trombone,  i.  30,  34,  iii.  32,  43, 45 
Troubadours,  i.  6,  17,  iii.  9,  10, 

22,48 


184 


Index. 


Trumpet,  iii.  32,  45 

Trumpet-marine,  iii,  40 

Tuba,  iii.  45 

Tuba  Mirum,  iii.  18 

Turk,  i.  49 

Turle,  J.,  iii.  20 

Tye,  Christopher,  i.  25,  iii.  20, 

36 
Tympanum,  iii.  47 
Tyndall,  iii,  51 
Types,  Movable,  i.  24 
Tyrtaeu8,  i.  5 

Dnisonal  Singing,  1.  8,  iii.  6 
Urh-heen  (Chinese  fiddle),  iii,  40 

Velter,  iii.  35 

Verdi,  i.  67,  iii.  25 

Verse  Anthems,  iii.  20 

Viadana,  i.  34,  iii.  46 

"Viol,  i.  32,  iii.  28,  40 

Viola,  iii.  32 

Yiola-da-gamba,  i.  47,  iii.  40 

Viola  pomposa,  iii.  40 

Viol  d' amour,  iii.  40 

Viol  di  Bardone,  iii.  40 

Violin,  i.  30,  37, 48, 50,  iii.  16,  27, 
29,  31,  32,  41 

Violinists,  iii.  41 

Violoncello,  i.  52, 53,  iii.  31, 32, 40 

Viotti,  i.  50,  iii.  30,  31,  41 

Virginal  Book,  Queen  Eliza- 
beth's, i.  26 

Virginals,  i.  25,  iii.  36 

Vittoria,  i.  30 

Vitula,  iii.  40 

Vogler,  i.  49,  iii.  46 

Tulpius,  i.  35 


Wachtel,  iii.  48 

Waelrant,  i.  31 

Wagner,  i.  69,  iii.  25,  26,  43,  44 

Wallace,  V.,  i.  64,  iii.  25 

Walmisley,  iii.  20 

Walther,  i.  35,  iii.  21 

Walther  (2),  iii.  46 

Waltz,  i.  60 

Webbe,  iii.  18,  23 

Weber,  B.  A,,  i.  49 

Weber,  C.  M.  Von,  j.  55,  iii.  18, 

25,  26,  29—31 
Weelkes,  i.  27 
Weigl,  i.  49 

Weldon,  J.,  i.  38,  iii.  20 
Welsh  Harp,  iii.  35 
Wesley,  S.,  i.  64,  iii.  20 
Wesley,  S.  Sebastian,  i.  64,  iii. 
Weyghtes,  iii.  27,  43         [20,  46 
Wheatstone,  Sir  C.,  iii.  61 
White,  Robert,  i.  26 
Whitelocke,  iii.  27 
Wieck,  i.  59 
Wilbye,  i,  27,  iii.  22 
Willaert,  i.  22,  iii.  22 
Wilson,  Dr.,  iii.  28 
Winter,  P.  Von,  i.  49 
Wise,  Michael,  i.  36,  iii.  20 
Wolstan,  iii.  46 
Wood,  iii.  38 

Zachau,  F.,  i.  41 
Zarlino,  i.  30,  iii.  50 
Zelter,  i.  49,  58,  iii.  50 
Zingarelli,  i.  60,  iii.  18 


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